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[GRAND OPERA]
LIBRETTOS
ITALIAN
AND ENGLISH TEXT
AND MUSIC OF THE PRINCIPAL AIRS
OTELLO
(OTHELLO)
VERDI
OLJVER DITSC5N COMPANY
BOSTON
SiSHDITSONiSC?^
3
OPERA SCORES
All the vocal scores have English text together with the foreign text men
tioned below. Unless otherwise specified, these books are bound in paper
GRAND OPERAS
AroA
In four acts.
Net.
Giuseppe Verdi 2.50
Italian text
BOHEMIAN GIRL....Michael W. Balfe 2.00
In three acts
CARMEN Georges Bixet 2.5Q
In four acts. French text
CAVALLERIA RUSTICANA
Pietro Mascagni 2.00
In one act. Italian text
FAUST Charles Gounod 2.00
In five acts. French text
LAKM£
In three nets
Net.
Leo Delibes 3.00
MARITANA....WilHam Vincent Wallace 2.50
In three acts
MIGNON AmbroUe Thomas 2.50
In three acts. Italian text
SAMSON AND DELILAH
In three acts Camille Saink*Saens 2.50
TROVATORE, IL. Giuseppe Verdi 2.00
In four acts. Italian text
LIGHT OPERAS
BELLS OF CORNEVILLE, THE; or, THE
CHIMES OF NORMANDY Net.
In three acts Robert Planquette 2.50
BILLEE TAYLOR; or, THE REWARD
OF VIRTUE Edward Solomon 1.50
In two acts
BOCCACCIO; or, THE PRINCE OF
PALERMO Frans Ton Suppe 2.50
In three acts
DOCTOR OF ALCANTARA, THE
In two acts Julius Eicbberg 1.50
FATINITZA Franz Ton Suppe 2.50
In three acts. German and Italian text
Net.
MARTHA Friedrich Ton Flotow 2.50
In four acts. German and Italian text
MASCOT, THE Edmond Audran 2.5Q
. In three acts
OLIVETTE Edmond Audran 2.00
In three acts
PINAFORE, H. M. S.; or. THE LASS THAT
LOVED A SAILOR
In two acts Sir Arthur Sullivan 1.50
SORCERER, THE. ...Sir Arthur SulliTan 1.75
In two acts
STRADELLA Friedrich Ton Flotow 2.00
In three acts
Send for DescriptiTe Circular P — Oratorios, Cantatas, Operas and Operettas*
OTELLO,
LYRIC DRAMA IN FOUR ACTS
THE LIBRETTO BY
C(rn*v<s^er '^s.
ARRiGo B o I T o .' -i;;;:^^^
THE MUSIC BY
GIUSEPPE VERDI
WITir ITALIAN AND ENGLISH TEXT,
V^a.vi^\2i^\V^ V>
n
^L,
^^
e.<^
• •
30
• 4
• > •
• -
• •
• • •••
• • • •
BOSTON:
Copyright, 1888, by
OLIVER DITSON
& CO.
MSWYORX
H. DITSON & Oa
CHICAGO
LYON & HEALY
CHARACTERS.
564915
»
OTHELLO. THE MOOR Tenor
lAGO, HIS ANCIENT BARITONE
CASSIO, HIS LIEUTENANT TENOR
RODERIGO, A VENETIAN GENTLEMAN TENOR
LODOVICO, AN AMBASSADOR ......... BASS
MONTANO, OTHELLO'S PREDECESSOR IN THE GOVERNMENT OF CYPRUS . . . BASS
HERALD, Bass
DESDEMONA, othello's wife Soprano
EMILIA, WIFE TO LVGo Mezzo-Soprano
Soldiers, Sailors, Cypriots, Children, Etc.
»
Scene: A Seaport in Cyprus. Period: End of the Fifteenth Century.
c •
«
"•• • •
• • • •
• • • •
• ••
• • .
f *
m% •
OTELLO.
ATTO PRIMO.
L'ESTERNO DEL CaSTBLLO.
Una taverna con pergalato. Gli spaldi nel
fondo e il mare. £ sera, Lampt^ tuoni^
uragano*
SCENA PRIMA.
Jago, Roderigo, Cassio, Montano, piu
tardi Otbllo. Ciprioiti e Soldati veneii.
Alcuni del Coro. Una vela !
Altri del Coro. Una vela !
Il Primo Gruppo. Un vessillo !
Il Secondo Gruppo. Un Vessillo !
MoNTANO. fe r alato Leon !
Cassio. Or la folgor lo svela.
Altri {che sopraggiungonoi) .
Altri {che sopraggiungono).
TuTTi. Ha tuonato il cannon.
Cassio. £ la nave del Duce.
MoNTANO. Or »' affonda,
Or s' inciela . . •
Cassio. Erge il rostro dair onda.
Meta del Coro. Nelle nubi si cela e nel mar,
£ alia luce dei lampi ne appar.
Uno squillo !
Uno squillo I
TuTTi. Lampi ! tuoni ! gorghi ! turbi tem-
pestosi e fulmini !
Treman V onde, treman 1' aure, treman
basi e culmini.
Fende V etra un torvo e cieco spirto di ver-
tigine,
Iddio scuote il cielo bieco, come un tetro
vel. .
Tutto e fumo! tutto e fuoco! V orrida
caligine.
Si fa incendio, poi si spegne piu fun sta,
spasima
ACT FIRST.-
Outside th|c Castle.
A tavern with an arbor. In the background
a quay and the sea. It is evening. Light*
ntng and thunder accompany a hurricane.
SCENE I.
Iago, Roderigo, Cassio, Montano, and later
on Otello. Cypriots and Venetian Soldiers.
Cypriots. Ho ! a vessel J
Soldiers. Ho ! a vessel !
First Group. Sailing yonder !
Second Group. See her ensign I
Montano. 'Tis the Hon with wi.igs.
Cassio. Now the flash shows her clearly.
Voices. Hark, the thunder !
Voices. 'Tis a signal.
All. Hark, the gun answer brings.
Cassio. 'Tis the ship of the General.
Montano. Now th' ttpheaving swell surrounds
her.
Cassio. Now the waves she is cleaving.
Half of the Chorus.
She is lost in the sea and the night,
But the lightning reveals her to sight.
All. Roaring tempest, rolling thunder.
Bright as the day the lightning flash,
Waves are surging high and monstrou^^
Where the battling whirlwinds clash.
Through the air ts blindly rushing
Now the spirit of the night.
And the tempest-riven clouds
Are like a funeral pall.
Chidden billows, gushing skyward.
Now reflect the lurid light of heaven,
And now in deepened
Darkness lies the world
L* universe, accorre a valchi V aquilon fan-
tasima,
J titaiiici orica chi squillaiio nel ciel.
(Entrano delfondo molte donne del popolo.)
TuTTi. Dio, fulgor della bufera I
Dio, sorriso della duna !
Salva ]' area e la bandiera
Della veneta fortuna !
Tu, che reggi gli astri e il Fato I
Tu, che imperi al mondo e al ciel I
Fa che in fondo al mar placato
Fqsi,!' dncora fedel.
Tago. E infranto 1' artimon I
KODERIGO. II rostro piombo
Su quello sco^lio 1
CoRO. Aita! 'aita!
Jago (a parte). (L* alvo
Frenetico del mar sia la sua tomba !)
Cord. £ salvo ! salvo !
Voci Interne. Gittate i palischermi !
Mano alle funi ! Fermi !
Prima Parte Coro. Forza ai remi !
Sbconda Parte.
{Scendono la scala dello spaldo,)
Alia riva !
Voci Interne. All' approdo ! alio sbarco !
Altre Voci Interne. Ewiva ! Ewiva !
Otello.
{Sal a scala della spiaggia salendo sullo spaldo
con seguito di marinai e di soldati,)
Esultate ! L'orgoglio musulmano
Sepolto e in mar, nostra e del cielo h gloria
Dopo r armi lovinse 1' uragarto.
TuTTl. • Ewiva Otello 1 — Vittoria 1 vittoria I !
( Otello entra nella rdcca^ seguito da Cassto^
da Montana, e dai soldati.)
CoRO. Vittoria ! Sterminio !
Dispersi, distrutti,
Sepolti neir orrido
Tumullo pcombAr.
Avronno per requie
La sferzadei flutti,
La ridda dei turbi ni, } '
U abisso dei mar. ^^^^^ — ^ — zfr*. ^^^
Coro. Si calma la^ bufera. -t^jv^Jk?;^
Jaoo {in disparted Roderigof. ^oderigo,
Eben, che pensi?
i .1
RoDERiGO. D' afTogarmi. • .
Jagg. Stoto
& chi s' affoga-per amor di donna..
List to the north wind's trumpet,
Before its breath the spectral
Clouds are onward hurled,
And with their abysmal darkness
Now they cover all.
{Several women of the people enter, ^
KiA.. God, whose wrath has roused the waters^
At whose smile the whirlwind tarries.
Save, oh, save the noble galley,
That Venetia's fortunes carries !
Thou who rulest earth and oceans,
Stay the storm, command the tide I
That the ship in shelt'ring harbor
May at anchor safely ride.
I AGO. Behold, the main sail's burst 1
RoDERiGO. Her bow is hurried
To the cliflf yonder !
Chorus. Bring rescue, bring rescue.
I AGO (to himself). I fain would leave
Her buried for the waves to cover I
Chorus. The danger is over I
Voices from Without.
Abaft the halyards ready,
Lower the cockboat steady.
Cypriots. Man the shore boats I
Soldiers. Hurry strandward !
{They descend the steps of the quay.)
Voices Behind. Pull together, to landward !
Other Voices Behind. Be welcome! Be
welcome I
Othello. {Ascends the steps leading from
the shore to the quay^ followed by sailors
and soldiers.)
Hear glad tidings ! Our wars are done.
The ocean has 'whelmed the Turk.
Heav'ns be and our the glory 1
What our weapons had left.
The storm has scattered.
All. All hail, Othello! Vittoria! Vittoria!
{Exit Othello into the castle^ followed by Cos*
sio^ Montano^ and soldiers.)
Chorus. Vittoria ! All scattered
And broken, all scattered
Their galleys are buried deep.
Deep under the sea.
Let rolling of thunder
And rushing of waters,
' And howling of whirlwinds,
Their requiem be !
Chorus. The tempest is subsiding.
Iago {aside to Roderigo). Roderigo,
Well, now, what say'st thou? .
Roderigo. Drowning, say I.
Iago. Fool,
Who talks of drowning for the love of
woman !
RoDBRiGO. Vincer nol so.
(Alcunt del popolo fortnano a un £ato und
catasta di legna; la folia s* accalca intor'
no turbolenta e curtosa,)
Jago. Suvvia, fa senno, aspettar
L' opra del tempo. A Desdemona bella,
Che nel segjeto de' tuoi sogni adori.
Presto in uggia veran oi foschi bacf
Di quel se vaggio dalle gonfie labbra.
Buon Roderigo, amico tuo-sincero
Mi ti professo, ne in piii forte ambascia
S ccorrerti potrei. Se un fragil voto
Di femmina non h tropp' arduo nodo
Pel genio mio n^ per 1' inferno, giuro
Che quella donna sara tiia. M^as olta
Bench' io finga d' amarlo, odie quel Moro —
{JSntra Cassia; poi s' u isce a un crocchio di
soldati,)
(yago sempre in dispart e a Roderigo,')
... £ una cagion delP ira, eccola, guarda.
(^Indicando Cassia.)
Queir azzimato capitano usurpa
II grado mio, il grado mio che in cento
Ben pugnate battaglie ho meritato
Sal fu il voler d' Otello, ed io rimango
Di sua Moresca signoria V alfiere !
i^Dalla catasta incaminciano ad alzarsi deiglabi
difumo sempre piu densa.)
Ma, come h ver che tu Roderigo sei,
Cosi e pur certo che se il Moro io fossi
Vedermi non vorrei d' attorno un Jago.
Se tu m'oscolti . . .
(yago conduce Roderigo verso ilfondo,)
( Iljuoco divampa . / soldati j* ffollano intarno
alle tavole delta taverna.)
CoRO. Mentre dura il canto intorno at fuoco
di gioia^ i tavernieri append ranno at per-
golato deir asteria delle lanterne veneziane
a vari color i che illumineranno gaiamente
la scena^
Fuoco di gioia ! — 1* ilare vampa
Fuga la notte -^ col suo splendor,
Guizza, sfa villa — crepita, awam a
Fulgido incendio — che invade il cor.
Roderigo. What should I do ?
{^Same of the people form a large pile of wood.
The crowd gathers rounds noisy and
curious.)
Iago. Ho, now ! have courage, and wait
For time working changes ; for the fair
Desdemona,
Whom in thy secret dr^'a mi ngs thou adorest.
Will be weary right soon of dark embraces^
And of the swollen lips of yonder savage.
Good Roderigo, thy mend for good and evil
I have professed me ;' bide thou but the issue
And thou art sure of me. '' if frail vows
Twixt a Venetian and tbis Moor are not too
hard "" '
For my wits and all the tribe of hell —
Thou shalt enjoy and hold her as thy own.
Now listen :
Though in semblance hfs friend, I hate this
Othello.
{JBnter Cassia^ who joins a group of soldiers.)
{/ago continues to speak aside to Roderigo.)
And for the best of reasons, thou shalt hear. ^
Judgethei^^
{Pointing to Cassia.) >^^^^^^ir^
That masterly arithmetician usurps
My place, a place which I had earned
In many a well-contested battle 'twixt Chrif*
tian and heathen^ .
Yet in good time this Cassio is his lieuten«
. ant,
And I, God bless th^mack ! his Moorship's
ancient
( Clouds of smoke^ denser'- and denser^ begin tc
rise from the pile,)
It is as sure as thou Roderigo art,
Were I the Moor I would not be Iago ;
In following him I but myself do follow ;
Nay, do but hear me . . .
{Iago takes Roderigo aside,)
( The fire flares up. The soldiers crowd aboui
the tables of the tavern.)
Ch orus . While they sing- around the fre^ the
attendants of the tavern adorn the arbor
. with Venetian lanterns of different
colors-^
Flame brightly burning — flickering fire.
That with its splendor — lightens the night«
Shining and roaring — rising up still higheri
Filling the heart — with bright rays of light
Dal raggio attratti — vaghi sembianti
Movono intorno — ^ mutando stuol,
£ son fanciulle — dai lied canti,
E son farfalle — daU' igneo vol*
Arde la palma — col sicomorOjt
Canta la sposa — col suo fedel,
Suir aurea fiamoia — sul gaio coro
Soffit r ardente — spiro del ciel.
Fuoco di gioia-^ capidQ brilla!
Rapido passa — fuoco d'amor !
Splende, s' oscura — palpita, osciUa,-
L ultimo guizzo -— lampeggia e muon
{Jl fuoco sispegne a poco a poco: la, hufera h
cessata. Jago^ Roderigo,^ Cassio e parec-
chi altri uomini cParme tntornoa un tavolo
dove eke del vino; parte in piedi^ parte
seduti, )
Jagg. Roderigo, beviam ! qua la tazza,
Capitano.
Cassig. Non b^o pill.
Tago {avvicinando ilboccoUe alia tazza di Cas^
sio) . Ingoia
Questo sorso.
Cassig (ritirando il^icckiere), No»
Jago. Gkiardal oggi impazza
Tutta Cipro ! e una notte di gioia,
Dunque . . .
Cassig. Cessa. Gia m' arde il cervello
Per un nappo vuotato.
Jagg. Si, ancora
Ber tu devi. AUe nozze d' Otello
£ Desdemona !
TuTTi {tranne Roderigo). Ewiva !
Cassjg {alzando il bicchiere e bewendo un
poco) . Essa infiora
Questo lido.
Jagg (sottovoce a Roderigo). Lo ascolta!
Cassio Col vago
Suo raggiar chiama i cuori a raccolta.
Rgderigg. For modesta essa h tanto.
Cassig Tu, Jago,
Canterai le sue lodi t
Jagg (a Roderigo), Lo ascolta. ( Forte a
Cassio) . lo non sono che un critico.
Cassig.
D' ogni lode h piii bella.
Edella
Drawn to thy glowing — shapes of vagui
semblance, ^
Hitlier and thither — Hitting are seen.
Now to sweet maidens — they bear resem-
blance,
And then seem goblins — bom of thesheeiu
Palm-wood is burning — and brightly glow-
ing,
List where the lover — sings to his love,
And on the gladness — are softly flowing
Sweet-scented breezes — breath from above.
Flame brightly burning — first love's desires
Vanish as quickly — as they arise.
Buried in darkness — vanished is the fire.
See, where the trembling — spark slowly
dies.
{The fire slowly dies out; the storm has ceased
altogether. lago^ RoderigOy Cassio^ and
some other soldiers are grouped around
the table^ on which there ts wine; some sit*
ting^ some standing.)
LiGO. Roderigo, a glass ! now's your turn, my
brave lieutenant !
Cassio. I drink no more.
L^go (holds up the can to Cassio) *
Just this one cup
To please me.
Cassig {drawing back).
No!
Iagg. Listen, there is revel
In all Cyprus, and the gallants desire it.
Therefore —
Cassig. Leave me. Fve drunk but one cup
To-night, and lo ! Fm unsteady.
Iagg. Yet this toast
You cannot shrink from : Here's to fair Des-
demona
And Othello !
All {except Roderigo) . We hail them !
Cassig {raising the glass and sipping the
liquor). She is the blossom
Of this island.
Iagg {softly to Roderigo).
You hear him !
Cassig. To whose bright, beaming
Glance ev'ry heart must surrender.
Rgderigg.
Yet methinks she's right modest.
Cassig. lago,
Thou shalt chant now her praises.
Iagg {softly to Roderigo) .
You hear him! {Aloud to Cassio).
I am nought if not critical.
Cassig. And far above
I All praise is her beauQr.
J AGO {come sopra^ a Rodertgo^ a parte).
Ti guarda
Da quel Cassio.
RoDBRiGO. Chetemi?
Jago {sempre piu incalzante,)
Ei fayella
Gia con troppo boUor, in gagliarda
Giovinezza lo sprona, e un astuto
Seduttor che f ingombra il cammino.
Bada. • •
RoDERiGo. Ebben ?
Jago. S' ei %* innebbria h perduto I
Fallo ber.
{A£ tavemieri.)
Qua, ragazziy del vino !
(,y<^g'o r temple ire biechieri: una per sh^ uno
per Roaerigo^ uno per Cassio, I tavernieri
circolano colleanfore*)
( y^S"^ ^ Cassio col bicchiere in mano : la folia
gii si awicina e lo guard curiosamenie, )
I AGO {io Cass io, jg^Zgjj in hand).
Iago {aside to Roderigo^ as above).
Beware thou
Of this Cassio 1
RoDERiGo. And wherefore?
Iago. He is handsome,
Young, a voluble knave, and very nature
Will instruct her to love him. He's a subtle
Knave, the woman has found him already.
Listen.
RoDBRiGO. What then ?
Iago. If he drinks he is ruined,
Make him drink.
{Calling to attendants.)
Ho I ho, drawers ! Some wine, boys I
{Iago f lis three glasses for himself^ Roderig9^
and Cassio* The drawers go round with
cans,)
Iago {to Cassio with glass in hand. The crowd
draws nearer watching them curiously.)
Then let
I -naf
me quaff the no - ble wine. From the
fia fu • go • - la! . • .
• • •
can ni drink it A
trin'Ca, tra can - na.
tw^^rtsJ^ i Tiir r i 'i^fp'r e ir ^ ^T tftf■ ^
flipl - dier is but a man, . • life's but a span, Then
pri " - ma che svam - • • pi ^ no can
Cassio {to Iago, glass in hand).
let .11 m drink;
to ebiC'ChUr!
\i \ \ji*j^
This
Ques
is a no - ble wine, a nee • tar red
ta del pampi -no ve - ra - ce man
Iago {to all).
That with a mist, a
na di va • ghe an •
^^^^^^
mist di - vine
- nu • go- la
en-shrouds the head.
neb-bie ilpen - sier.
tr
Who once has kiss'd it, . • . This ma - gic
Chi al-Pe-sca ha mor-so . . • del di - ti -
^m
brink, Can-not re * sist it ; He must drink, he must drink, ev - er must drink, He must
• ram - bo spa-vai • do e stam * bo 'bo be • va eon me^ be • va con me^ be - va^
RODBRIGO AND ChORUS.
er,
be
er, cv • er,
ev-er must drink 1
bC'Va con me.
•• p r~t n
Who once has kissM
CAe eUV i - jr0 ha mor
it, . . .
so, • . •
This mag
del di
ic brink,
H - ram
w^^^ * ^- ^
Cannot re -
t
:j:
i
fist it. He must
ved • doe stram - ^
RODBRIGO AND ChORUS.
^£Lp-r I r ■ , I J._^J:ju.
t
J
drink . . he must drink,
be • va con te^
ev
be
er must drink.
va con te.
^
-x-^
3^ - ve con tCy
he • ve con te, be
m^
i ^Tf i S^, . .
Be^va, be
Pa,
W
//
va.
lA
*' aJ*l J
•?^j ii »"'
t
be-va, be
w^
ve.
ve, ie - ve.
^^
"1 * ■ X ''f
i
be- ve con te.
t
i
.s;_Sq_^||_2^
^
Jago {piano a Roderigo indicando Cassio) .
Un altfo sorso
£ brillo egli e.
{Ad alia voce,)
II mondo palpita
Quand' io son brillo !
Sfido r ironico
Nume e il destin !
Cassio {bevendo ancora)*
Come un armonico
Liuto oscillo ;
La gioia scalpita
Sul mio Cammin I
Jagg ( come soprd) .
Chi air esca ha morso
Del ditirambo
Spavaldo e strambo
Beva con me !
TUTTI.
Chi air esca ha morso
Del ditirambo
Spavaldo e strambo
Beve con me !
Iago {softly to Roderigo^ pointing to Cassio"^
One other glass and he must sink.
{Aloud,)
The world looks all awry
When I'm imbibing.
Drinking I can defy
Fate and its gibes.
Cassio {drinking again) •
Like an harmonious
Lute I resound,
Happy and glorious
The world around.
Iago {as above) .
Who once has kissed it.
This magic brink,
Cannot resist it ;
He ever must drink.
Chgrus.
Who once has kissed ity
This magic brink,
Cannot resist it ;
He must ever drink.
9
jAGOia Roderigo). (Un altro sorso
Ed ebbro egli e.)
(Ad alia voce.)
Fuggan dal vivido
Nappo i codardi
Che in cor nascondono
Frodi e mister.
Cassio {alzando 11 b techier e^ al colmo delP esal-
azioneJ)
In fondo all' anima
Ciascun mi guardi !
(beve)
Non temo il ver . • .
{barcollando)
Non temo il ver ... — e bevo • • •
TuTTi {ridendo). Ah ! Ah !
Cassio. Del calice
Gli orli s' imporporino ! . . .
Jagg (a Roderigo^ in disparte mentre gli
altri ridono di Cassio) .
Egli e briaco fradicio. Ti scuoti.
Lo trascina a contesa ; e pronto all' ira,
T' ofTendera . . . ne segiiira tiimulto !
Pensa che piioi cosi del lieto Otello
Turbar la prima vigilia d'amore 1
RoDERiGo {risoluto) . Ed h ci6 che mi spinge)
Mont AND {entrando e rivolgendosi a Cassio).
Capitano,
V attende la fazione ai baluardi.
Cassio {barcollando) . Andiam !
MoNTANO. Che vedo? 1
Jagg (a Montano), Ogni notte in tal guisa
Cassio prelu'lia ai sonno.
Mgntang. Otello il sappia.
Cassig (come sopra),
Andiaino ai baluardi • • •
Rgderigg {poi iutii).
Ah! Ah!
Cassig. Chi ride?
Rgderigg ( provocandolo) .
Rido d'un ehro . . .
Cassig {scagliando i contro Roderigo).
Bada alle tue spalle I
Furfante ?
Rgderigg ( difendendosi) .
Briaco ribaldo !
Cassig. Mariano I
Nessun piu ti salva.
Iagg {to Roderigo). One other glaio
And he must sink.
(7b a//, aloud.)
From this good company
Cowards avaunt 1
Whose bosom
Treach'rously —
Cassig {interrupting) .
My heart lies open
To ev'ry good fellow.
{He drinks.)
I do not fear, not I.
( Tottering.)
I do not fear, while drinking.
All {laughing).
Ah! Ahl
Cassig. The beaker's
Brimming, brimming with noble wine.
Iagg {to Roderigo).
He is as drunk as man can be. Now hie
thee
To provoke him to combat, he's rash in
choler,
And he may strike and thus some tumult
follow,
Then shalt thou cry a mutiny
And thereby disturb the Moor in the arms
of his love.
Rgderigg {with determination).
Trust in me for the issue.
Mgntang {entering from the castle and ad-
dressing Cassio).
Good Lieutenant Cassio,
Go thou to keep the watch upon the bastion.
Cassig {tottering). Let's go then.
Mgntang. What see I ?
Iagg {to Montano). 'Tis forever the prologue
That goes before his sleeping
Mgntang. The Moor should know it.
Cassig {as above) .
Who follows to the bastion?
Rgderigg (then all.)
Ahl Ah!
Cassig. Who laughs there?
Rgderigg {provoking him) •
I laugh at drunkards.
Cassig {pushing against Roderigo).
Knave, thee I will punish 1
Take this then !
Rgderigg {defending himself).
Thou villanous drunkard 1
Cassig. Thou villain I
No mercy shall save thee.
10
MoNTANO {separandoli a forza e dirigendosi
a Cassio),
Frenate la mano,
Messer, ve ne prego.
Cassio (a Afontano).
Ti spacco il cerebro.
Se qui t' n terpen i.
MoNTANO. Parole d* un ebro.
Cassio. D'un ebro? !
(Cassio sguaina la spada, Montano s^arma
anch^esso. Assalto furibondo^ La folia si
ritrae.)
Jago {a parte a Rodrigo rapidamente) .
(Va al porto, con quanta piu possa
Ti resta, gridando : sommossa ! sommossa !
Va ! spargi il tumulto, T orror. Le campane
Risuonino a stormo.)
{Roderigo esce correndo.)
\yago ai combattenti esclamando,)
Fratelli ! T immane
Conflitto cessate !
MoLTE Donne Del Coro {/uggendo).
Fuggiam !
Jago. Ciel 1 gia .gp-onda
Di sangue Montano I Tenzon furibonna I
Altrb Donne. Fuggiam.
Jago. Tregua !
TuTTi, Tregua !
Donne (Juggendo).
S' uccidono !
UoMiNi (ai combattenti).
Pace!
Jago ( agli astanti) ,
Nessun piu raffrena quell' ira pugnace !
Si gridi V allarme ! Satana li invade !
Voci (in scena e dentro) .
Air armi ! !
( Campane a stormo.)
TuTTi. Soccorso ! I
SCENA 11.
Otbllo, Jago, Cassio, Montano, Popolo^
Solaati: piii tardi Desdemona.
Otello (jseguito da genti con JiaccoU) ,
Abbasso le spade !
{H combattenti s* arrestano. Montano / appog-
gia a un soldato.)
(Le nubi si diradano a poco a poco^
Montano (separating them, to Cassio)*
Peace, peace, good lieutenant !
No bloodshed, I pray you.
Cassio {to Montano).
ril knock out your brains,
If you dare thus to thwart me.
Montano. Come, come, you are tipsy.
Cassio. I tipsy !
( Cassio draws his sword ^ as does also Montana,
luirious onslaught. The crowd move away,)
I AGO {aside to Roderigo) .
Now hasten with all that of speed
Thou canst summon, go crying — a tiot!
a riotl
Help ! Thus spread the tumult abroad,
Let them ring all the bells in the fortress.
(Exit Roderigo^ running,)
(Jago turns rapidly to the two antagonists,)
I pray you,
Montano, good Cassio, cease fighting !
Several Women of the Chorus (flying).
Away I
Iago. Zounds 1
Montano is bleeding, is dying! Oh, terrible
combat !
Other Women. Away !
Iago. Rescue.
All. Rescue.
Women (flying). Their blood is up.
Men {to the fighters). Peace.
Iago (to the present ones).
There's nought to allay their murderous
fury!
Ho ! call an alarm ! The devil is rampant I
Voices (on the stage and behind) . Alarum I !
(Bells ringing.)
All. a rescue.
SCENE II.
Othello, Iago, Cassio, Montana, Cypriote*
Soldiers ; later on^ Desdemona.
Othello (follorwed by men bearing torches).
Ho ! Down with your weapons !
( The fight ceases. The crowd gradually di^
perses.)
11
Ola I che a wien ? son io fra i Saracen! ?
O la turchesca rabbia e in voi trasfusa
Per sbranarvi 1* un V altro? . . . Onesto Jago,
Per queir amor che tu mi porti, parla.
Jago.
Non so • . qui tutti eran cortesi amici,
Dianzi, e giocondi . . . ma ad un tratto,
come
Se un pianeta maligno avesse a quell!
Smag^to il serno, sguainando 1* arme
S' awentano furenti . . . avess' io prima
Stroncati i pie che qui m'addusser I
Otbllo. Cassio,
Come obliasti te stesso a tal segno ? • • •
Cassio.
Grazia . . • perdon • • . parlar non so . • •
Otello. Montano . . •
MoNTANO {sostenuto da un soldatd) .
Io son ferito . . .
Otello. Ferito! . . . pel cielo
Gia il sangue mio riboUe. Ah ! T ira volge
L' angelo nostro tutelare in fuga !
\Entra Desdemona; Otello accorre ad essa,)
Che? ... la mia dolce Desdemona anch''
essa
Per voi distolta da' suoi sogni ? ! — Cassio,
Non sei piii capitano.
[Cassio lasci'a cadere la spada che e raccoHa
da Jago, )
Jagg {porgendo la spadu di Cassia a un
ufficiale).
(Oh ! mio trionfo !)
Otello. Jaso, tu va nella citta sgomenta
Con que la squadra a ricompor la pace.
{Jago esce.)
Si soccorra Montano.
{Montano e accompagnato nel castello.)
Al proprio tetto
Ritomi ognun.
{A tutti^ imperiosamente.)
Io da qui non mi parto
8e pria non vedo desert! gli spaldi.
(^La scena sivuotaJ) '
Why how 1 now ho ! from whence ariseth
this ?
Are we tum'd Turks, and to ourselves do
that
Which heaven's mercy sav'd us? Honest
Speak, who began this? On thy love 1
charge thee.
Iago. Alas ! I know not ; friends all but now.
In terms like bride and bridegroom : sud-
denly like men
Who by some madness are smitten, or by
the planet
Of opposition, they draw their weapons.
Till one another's breast — Ah! would in
action
I had lost the legs that brought me hither !
Othello. Cassio,
That you are thus forgot, say, how comei
it?
Cassio. Pardon — I pray ; I cannot speak.
Othello. Montano.
MoNTANO {leaning on a soldier) ,
I am wounded.
Othello. You wounded ! By heavens,
My blood begins to rule, yea, and resistless
Passion assays to lead the way to judgment !
{Enters Desdemona ; Othello runs towards
her.)
Look, if the sweet Desdemona, my gentle
love,
Be not raised up from slumber I — Cassio,
Thou'rt no more my lieutenant.
( Cassio drops his sword and Jago picks it up,)
Iago {handing Cassio* s sword to a soldier) •
At last I triumph !
Othello.
Look thou, Iago, now about the city,
And silence those whom this vile brawl difr
tracted.
{Exit Iago.)
Give all aid to Montano.
{Montano is led into the castle,)
And now to rest..
Let all men return.
{To ally with a gesture of command.')
I alone shall be watching,
Until I see that at peace is the city.
( The stage is empty.)
12
SCENA IIL
Otello e Desdemona.
Otello. Gia nella notte densa
S* estingue ogni clamor.
Gia il mio cor fremebondo
S' ammansa in quest' amplesso e si risensa.
Tuoni la guerra e s* inabiesi 11 mondo
Se dopo r ira tcnmensa
Vien qiiesto immense amor !
Desdemona. Mio £»Uperbo guerrier ! quant i
tormenti, ; , .
Quanti me sti sos piri e quanta speme
Ci condusse ai soavi abbracciamenti !
Oh 1 com' e dolce il mormorare insieme :
Te ne rammenti !
Quando narravi V esule tua vita
£ i fieri eventi e i lunghi tuoi dolor,
Ed io t' udia coU' anima rapita
In quei spaventi e coll' estasi in cor.
^Otello. Pingea dell' armi il fremito, la pugna
£ il vol gagliardo alia breccia mortal,
L' assalto, orribil edera coll' ugna
Al baluardo e i( sibilante stral.
Desdemona. Poi mi guidavi ai fulgidi deserti,
Air arse arene« al tuo materno suol,
Narravi allor gli spasimi sofTerti
£ le catene e dello schiavo il duol.
Otello. Ingentilla di lagrime V istoria
II tuo bel viso e il labbro di sospir ;
Scendean sulle mie tenebre la gloria,
II paradiso e gli astri a benedir.
Desdemona. Ed to vedea fra le tue tempi
oscure
Splender del genio I'eterea belta.
Otello. E tu m'amavi per le mie sventure
Ed io 't amavo per la tua pieta.
Otello. Venga la morte I mi colga nell' estasi
Di quest' a plesso
II momento supremo I
(// cielo si sara rasserenato.)
Tale e il gaudio dell' anima che temo,
Temo che piu non mi sara concesso
SCENE III.
Othello and Desdemona.
Othello. Dark is the night and silent,
AH blatant clamors cease,
tAlI the storm of my passion
In this embrace is stilled to perfect peace.
May the winds blow till they have waken'd
death,
If after every tempest comes such a calm of
love !
Desdemona. Oh ! my noble warrior, what
bitter sorrow
And what long-urawn sighs, what hopes
deferred,
Have safely guided us twain to these em-
braces \
Ah I it is sweet to whisper to each other :
ost thou remember
When thou didst speak of some distressful
stroke,
Thy youth had suffered from thy boyish
days?
To hear this I did seriously incline.
With greedy ear devour would thy course.
Othello. Wherein I spake of sieges, of bat-
tles,
Of hair breath 'scapes in the deadly breach.
Of dangers, and moving accidents, by flood
And field, and of impending death.
Desdemona. Wherein of antres vast and des-
erts idle.
Rough quarries, rocks and hills whose
heads touch heaven.
It was thy hint to 8p>eak, and of the tor-
ments
Borne by thy noble self, to slavery sold.
Othello. And I did oft beguile thee of thy
tears,
And for my pains receive a world of sighs ;
Upon the darkness of my soul then broke
The heavenly brightness that is of paradise.
Desdemona. I saw Othello's visage in his
mind.
And thus to him did my soul consecrate.
Othello. You loved me for the dangers I had
passed.
And I loved you, that you did pity them.
Othello. Were it to die now, 'twere to bo
now most happy,
While thine arms surround me
In tender embraces —
(^The sky is now become quite clear,)
For I fear that my soul hath her content,
13
Quest' attimo divino
Neir ignoio avvenir del mio destino.
Desdemona. Disperda il ciel gli affanni
£ Amor non muti col mutar degl' anni.
Otello. a questa tua preghiera
Amen risponda la celeste schiera.
Desdemona. Amen risponda.
Otello {afpoggiandosi ad un rialzo degli
spaldi) •
Ah ! la gioia m'innonda
Si fieramente . • . che ansante mi giacio . • .
Un bacio ...
Desdemona. Otello! . . .
Otello. Un baclo . . . ancora un bacio
{Fissandi unaplaga del cielo stellate)
Gia la pleiade ardente al mar discende.
Desdemona. Tarda e la notte.
Otello. Vien • . . Venere splende.
(5* awiano abbracciati verso il castello.)
So absolute, that not another comfort
Like unto that, which at this hour I caK
mine own,
Succeeds in unknown fate.
Desdemona. By heaven's all gracious power
Our love shall, aye, increase, e'en as out
days do grow.
Othello. Ah 1 may to thy sweet prayer
Amen respond the choir of heav'nly voices
Desdemona. Amen their answer !
Othello {leaning against the parapet of the
quay) .
Ah ! this joy will overwhelm me-
This is too much, it stops me — I stagger.
A kiss.
Desdemona. . Othello!
Othello. A kiss, and yet another kiss.
(Rising and looking up to the sky.)
See the Wain is declining in the sky.
Desdemona. Late is the night.
Othello. Come, Venus stands on high.
{Exeunt^ clinging to each other^ toward
the castle.)
14
ATTO SECONDO.
Una Sajla Terrsxa nkl Castkujo.
Due vasti veroni at lait: t
eke dk smi gimrdima
ACT SECOND.
A HALX.OS THB GSOCXD FliOOK OF THS CaSTLB.
SCENA PRIMA.
yago al di qua del vertme. Cassia aldi ta,
|ago. Non ti crucciar. Se credi a me,
poco«
Farai ritomo ai fbUcggiaiiti imiori
Di Monna Biaaca, altiero capitamo.
Coll' elsa d* ora e col balteo finegiato.
Cassio. Non lusingamii . . •
Jagg. Attendi a cio ch' io dico.
Tu dei saper che Desdemona e it Duce
Del itostro Duce« sol per essa ei vive.
Pregala tu, quell* anima cortese
Per te interceda e il tuo peidono e ccrtD.
SCENE L
Cassio. Ma come favellarle?
Jago. E suo costume
Girsene a meriggiar fra quelle fronde
Col la consorte mia. Quivi 1* aspetta*
Or t' e aperta la via di salva zione ;
Vanne.
(^Cassio s* allotauna.)
*
I Lago. XaT« do not finct. Trust but in me, I
tra . promise
I TlKHilt bask OQce more in the bright beam-
ing glances
j Of Mistress Bianca, as <lapper a lieutenant
* As ever thou wert, with gilded hilt and
I baldrich.
{ Cassio. Do not deceire roe.
Lago. Xaj, hear bat what I counsel.
I Our gen*ral's wife, as thou must know, is
' now
Our gen*ral*s gen*ral, be her humble ser-
vant ;
Importune her, hers is so kind, so blessed,
A disposition, that she will work your par-
■ don.
' Cassio. But how to gain her presence?
Iago. It is her wont
I To rest at noon of day in yonder arbor ;
Talking with my wife. 'Here, then, await
her.
The road I've shown thee that leads to thy
salvation.
Go then. ( Cassio goes taspards ike Bad.)
SCENA ir.
Jago {solo) [seguendo colP occhio Cassio) .
Vanne ; la tua meta gia vedo.
Ti spinge il tuo dimone,
£ il tuo dimon son io,
£ me trascina il mio, nel quale io credo
Inesorato Iddio :
{^Allontanandosi dal verone senza pin guardat
Cassio che sara scomparso tra gii alberi,)
— Credo in un Dio crudel che m' ha creato
Simile a se, e che iiell* ira io nomo.
— Dalla vilta d' un germe o d' atomo
SCENE II.
Iago {alone). {Following Cassio -wiikkis eye.)
Go then ; well thy fate I descry.
Thy demon drives thee onward,
That demon, Io I am I ;
E'en as mine own impels me, on whose
Command I wait, relentless Fate.
{He comes forward without taking furtkef
notice of Cassio^ wko disappears.)
Cruel is he, the God who in his image
Has fashioned me and whom in wrath I
worship.
From some vile germ of nature, some pal-
try atom,
!
15
Vile son nato.
Son scelierato
Perch^ son uomo ;
"^nario in me.
Si ! questa 6 la mia f^ !
redo con fermo cuor, siccome crede
La vedovella al tempio,
Che il mal ch' io penso e che da me pro-
cede
Per mio destino adempio.
Credo che il giusto e un istrion befTardo
E nel viso e nel cuor,
Che tutto e in lui bugiardo :
Lagrima, bacio, sguardo,
Sacrificio ed onor.
E credo Tuom gioco d' iniqua sorte
Dal germe della culla
Al vermo dell' avel.
Vien dopo tanta irrision la Morte.
E poi ? — La Morte e il Nulla
£ veccbia fola il Ciel.
I I took mine issue.
Vile is my tissue^
For 1 am human.
I feel the primal mudflow of my breed*
Yea I This is all my creed,
Firmly I do believe as e'er did woman
Who prays before the altar,
Of ev'ry ill whether I think or do it,
'Tis Fate that drives me to it.
Thou, honest man, art but a wretched
player,
And thy life but a past ;
A lie each word thou sayest.
Tear-drops, kisses, prayers,
Are as false as thou art.
Man's fortune's fool, e'en from his earlieit
breath.
The germ of life is fashioned
To feed the worm of death, ^
Yea, after all this folly all must die,
And then ? And then there's nothing.
And heav'n an ancient lie.
(^Dal verone di sinistra si vede passare nel
giardino Desdemona con Emilia. Jago si
slancia al verone ^ al di la del quale si sard
apposta o Cassia.)
Jago (parlando a Cassia).
Eccola • . . Cassio . • a te • .
. . Questo h il momento.
/Ti scuoti . • . vien Desdemona.
(^Cassia va verso Desdemona ^ la saluta, le s'
accosta.)
S' e mosso ; la saluta
E s' avvicina
Or qui si tragga Otello! . • • aiuta,
aiuta
Satana il mio cimento ! • • • .
{Sempre al verone^ osservando^ ma un poco
discosto.)
{Sivedono ripassare nel giardino Cassio e Des-
demona.)
Gia conversano 4nsieme • • • * ed essa
inclina,
Sorridendo il bel viso.
Mi basta un lampo sol di quel sorriso
Per trascinare Otello alia ruina
Andiam ...
^JPa per avviarst rapido air uscio del lata
destro ma s^arres a subilamente.)
{^Desdemona and Emilia are seen to enter ike
f'arden. lago goes toward the terrace^
eyond which Cassio has taken his post"
tion.)
Iago {to Cassio).
Now, take care. Cassio ! To her I This !•
the moment.
Now haste thee, Desdemona comes.
{Cassio goes to Desdemona ^ bows to her and
Joins her.)
He's near here ; and he greets her
And does accost her.
Now must I fetch Othello! Divinities of
hell,
I call upon your succor.
( Cassio and Desdemona are seen passing bach^
ward and forward in the garden.)
They are talking in whispers, and now \m
him
Has she inclined her gentle visage.
Ay, smile upon her, do ! An excellent cour
tesy.
This smile shall lure Othello to his ruin. ^
To work !
{He goes rapidlv toward the door^ but suddenly
stops.
J
14
ATTO SECONDO.
Una Sala Terrkna nbl Castbllo.
Due vastt veroni at lati : una porta nel mezzo
che di sul g-iardino.
SCENA PRIMA.
yaffo al di qua del verone. Cassio aldi la.
[ago. Non ti crucciar. Se credi a me, tra
poco,
Farai ritorno ai foU'eggiantt amori
Di Monna Bianca, altiero capitano,
Coir elsa d' ora e col balteo fregiato.
Cassio. Non lusingarmi • . .
Jago. Attendi a ci6 ch* lo dico.
Tu del saper die Desdemona e il Duce
Del hostro Duce, sol per essa ei vive.
Pregala tu, quell* anima cortese
Per te interceda e il tuo perdono e certo.
Cassio. Ma come fayellarle?
Jago. E suo costume
Girsene a meriggiar fra quelle fronde
Colla consorte mia. Quivi 1* aspetta.
Or t' e aperta la via di salva zione ;
Vanne.
{^Cassias allotauna.)
SCENA IT.
Jago (solo) (seg'uendo colP occhio Cassio) .
Vanne ; la tua meta gia vedo.
Ti spinge il tuo dimone,
E il tuo dimon son io,
E me trascina tl mio, nel quale io credo
Inesorato Iddio :
{Allontanandosi dal verone sen::a piu giiardat
Cassio che sara scomparso tra gli alberi. )
— Credo in un Dio crudel die m' ha creato
Simile a se, e che nell* ira io nomo.
— Dalla vilta d' un germe o d* atomo
ACT SECOND.
A HALL ON THE GROUND FLOOR OF THE CaSTLB*
A glass partition divides it from a large gar*
den at back. A terrace.
SCENE I.
Iago. Nay, do not fret. Trust but in me, I
promise
Thou*lt bask once more in the bright beam-
ing glances
Of Mistress Bianca, as dapper a lieutenant
As ever thou wert, with gilded hilt and
baldrich.
Cassio. Do not deceive me.
Iago. Nay, hear but what I counsel.
Our gen'ral's wife, as thou must know, is
now
Our gen'ral's gen'ral, he her humble ser-
vant ;
Importune her, hers is so kind, so blessed,
A disposition, that she will work your par-
don.
Cassio. But how to gain her presence ?
Iago. It is her wont
To rest at noon of day in yonder arbor ;
Talking with my wife. Here, then, await
her, . ,
The road I've shown thee that leads to thy
salvation.
Go then. ( Cassio goes towards the back.)
SCENE II.
Iago (alone). {Following Cassio with his eye.)
Go then ; well thy fate I descry.
Thy demon drives thee onward.
That demon, lo ! am I ;
E*en as mine own impels me, on whose
Command I wait, relentless Fate.
(He comes forward without taking further
notice of Cassio <i who disappears,)
Cruel is he, the God who in his image
Has fashioned me and whom in wrath I
worship.
From some vile germ of nature, some pal-
try atom.
15
Vile son nato.
Son scellerato
Perch^ son uomo ;
"^nario in me.
Si ! questa e la mia fe !
Credo con femno cuor, siccome crede
La vedovella al tempio,
Che il mal ch' io penso e che da me pro-
cede
Per mio destino adempio.
Credo che il giusto e un istrion beffardo
£ nel viso e nel cuor,
Che tutto e in lui bugiardo :
Lagrima, bacio, sguardo,
Sacrificio ed onor.
£ credo Tuom gioco d' iniqua sorte
Dal germe della culla
Al vermo dell' avel.
Vien dopo tanta irris'ion la Morte.
£ poi ? — La Morte e il Nulla
£ vecchia fola il Ciel.
(^Dal verone di sinistra si vede passare nel
giardino Desdemona con Emilia. Jago si
slancia al verone y al di Id del quale si sard
apposta Cassio.)
Jago {parlando a Cassia).
£ccola . . . Cassio . . a te • .
. . Questo e il momento.
fTi scuoti . . . vien Desdemona.
I took mine issue.
Vile is my tissue,
For 1 am human.
I feel the primal mudflow of my breed.
Yea I This is all my creed,
Firmly I do believe as e'er did woman
Who prays before the altar,
Of ev'ry ill whether I think or do it,
'Tis Fate that drives me to it.
Thou, honest man, art but a wretched
player,
And thy life but a past ;
A lie each word thou sayest.
Tear-drops, kisses, prayers,
Are as false as thou art.
Man's fortune's fool, e'en from his
breath.
The germ of life is fashioned
To feed the worm of death, v
Yea, after all this folly all must die,
And then ? And then there's nothing.
And heav'n an ancient lie.
CCassio va verso Desdemona^ la saluta^ le s*
accosta,)
S' e mosso ; la saluta
£ s' avvicina
Or qui si tragga Otello! • • • aiuta,
aiuta
Satana il mio cimento ! • . .
»
{Sempre al verone^ osservando, ma un poco
disco sto.)
{Sivedono ripassare nel giardino Cassio e Des-
demona.^
Gia conversano insieme • • ^* ed essa
inclina,
Sorridendo il bel viso.
Mi basta un lampo sol di quel sorriso
Per trascinare Otello alia ruina
Andiam ... ;
^jPa per avviarsi rapido alP usc/o del lata
destro ma s'arres a subiiamente.)
{^Desdemona and Emilia are seen to enter tke
garden. lago goes toward the terrace^
beyond which Z^assio has taken his post*
tion.)
Iago {to Cassio).
Now, take care. Cassio ! To her ! This !•
the moment.
Now haste thee, Desdemona comes.
( Cassio goes to Desdemona^ bows to her and
Joins her.)
He's near here ; and he greets her
And does accost her.
Now must I fetch Othello ! Divinities of
hell,
I call upon your succor.
( Cassio and Desdemona are seen passing bach^
ward and forward in the garden.)
They are talking in whispers, and now \m
him
Has she inclined her gentle visage.
Ay, smile upon her, do ! An excellent cour
tesy.
This smile shall lure Othello to his ruin. *
To work I
{^He goes rapidlv toward the door^ but suddenfy
stops.
/
16
Ma il caso in mio favor s* adopra.
Eccolo . • • al posto, all' opra.
(Si colloca immoto al veron^ di sinistra^ guar"
dando fissamente verso il giardino^ dove
stanno Cassio e Desdemona.)
SCENA III.
Jago e Otkllo.
Jago {sttnulando di non aver visto Otello ti
quale gli si sara awicinato) .
i^Finge do di parlare fra seo).
Cio m' accoro . . .
Otkllo. Che parli?
Jago. Nulla . . . voi qui? una vana
Voce iti' usci dal labbro • • •
Otello. Colui che s* allontana
Dalla mia sposa, h Cassio?
Jago {e V uno e V altro si staccano dal verone) .
Cassio? no • . . quei si scosse
Come un reo nel vedervi.
Otello. Credo che Cassio ei fosse.
' Jago. Mio signore . . .
Otello. Che brami? . . .
Jago. Cassio, nei primi di
Del vostro amor, Desdemona non conos-
ceva?
Otkllo. Si.
Perch6 fai tale inchiesta?
Jago. II mio pensiero e vago
D' ubbie, non di mali'zia.
Otello. Di' il tuo pensiero, Jago.
Jago. Vi confidaste a Cassio?
Otello. Spesso un mio dono o'un cenno
Portava alia mia sposa.
Jago. Dassenno?
Otello. SI, dassenno.
Nol credi onesto ?
Jago. Onesto ?
Otello. Che ascondi nel tuo core?
Jago. Che ascondo in cor, signore?
Otello. ** Che ascondo in cor signore?"
Pel cielo ! tu sei 1' eco dei detti miei, nel
chiostro
D li' anima ricetti qualche terribil mostro.
Si ben t' udii poc' anzi mormorar : cib m*
accora.
Ma di che t' accoravi ? nomini Cassio e al-
lora
Tu corrughi la fronte. Suwia, pari a se
m' ami.
Jago. Voi sapete ch' io v' a mo.
And in tl>is net I will enslave him.
See, he comes. Good luck I I have him 1
(^He leans motionless against a column^ looking
intently^ toward the garden where Cassio
and Desdemona are standing together.)
SCENE III.
Iago and Othello,
Iago {^pretending not to see Othello^ and to h€
talking to himself) .
This I like not.
Othello. What say'st thou ?
Iago. Nothing. You here?
Or, if aught, some idle word has escaped
me.
Othello. Was he who just now parted
From Desdemona not Cassio ?
Iago (Jtoth come forward from the terrace).
Cassio? no. He in such wise.
Guilty-like, would not leave her.
Othello. I do believe 'twas Cassio.
Iago. No, my lord.
Othello. What think you ?
Iago. Nothing. Did Michael Cassio,
When . you woo'd my lady, know of your
passion ?
Othello. Yes ;
Wherefore dost ask the question ?
Iago. But for a satisfaction •
Of my thought, no further harm.
Othello. Why of thy thought, Iago?
Iago. And did you trust in Cassio?
Othello. He went between us oft.
Talking tender words to my lady
Iago. Indeed?
Othello. Ay, indeed !
Is he not honest?
Iago. ^ He honest?
Othello. Discern'st thou aught in that?
Iago. I^iscem I aught in that?
Othellc^ " Discern I aught in that?
By leaven, he does echo each word I say ;
As if-^n his thought there were some mon-
r too hideous to be shown.
Yea, J^ myself have heard thee say e'en
noy : ''This I like not."
Tell mel then, what did'st not like ? {Look*
ifig^t Cassio,)
Thou ditt'st contract thy brow together.
Oh, ^eak, if thou dost love me !
Iago. Well y^know that I love you.
M
I
\
17
Otbllo. Dunque senza velami
T* esprimi e senza ambagi. T* esca fuor dalla
gola
II tuo pill rio pensiero colla piu ria parola !
Jago. S' anco teneste in mano tutta
r anima mia
Nol sapreste.
Otkllo. Ah !
Jago {awicinandosi molto ad Otello e sot'
tovoce) .
Temete, signor, la gelosia I
£ un' idra fosca, livida^ cieca, coi suo veleno
Se stessa attosca, vivida piaga le squarcia il
seno.
Otello. Miseria mia ! ! — No 1 il vano sospet
tar nulla giova.
Pria del dubblo Tindagine, dopo 11 dubbia
la prova,
Dopo la prova (Otello ha sue leggi supreme,)
Amore e geliosa vadan dispersie insieme 1
Jago {con piglio f>lu ardito),
Un tal proposto spezza di mie labbra il sug-
gello.
Non parlo ancor di prova ; pur, generoso
Otello,
Vigilate, soventi le oneste e ben create
Consci'enze non vedono la frode : vigilate.
Scrutate le parole di Desdemona, un detto
Puo ricondur la fede, pu6 affermare il so-
spetto . . •
Eccola ; vigilate • . •
{Sivede ricomparire Desdemona nel giardinOy
dalla vasta apertura delfondo: ^ circon-
data da Donne ^ da Fanciulliy da Marinai
. cipriotti e albanesty die si avanzono e le
offrono fiori ed altri doni. Alciini s* ac-
compagnafiOy cantando, sulla guzla^ dltri
sii delle piccole arpe,)
CoRO {nei giardino) ,
Dove guardi splendono
Raggi, avvampan cuori,
Dove passi scendono
Nuvole di fiori.
Qui fra gigli e rose
Come a un casto altar,
Padri, bimbi, spose
Vensrono a cantar.
Othbllo. Then I prithee do speak
To me as to thy thinkings. Even as thou
dost ruminate,
And give to thy worst of thoughts now the
worst of words !
Iago. You should not know my thoughts were
e'en
My heart in your hand, nor shall not.
Othello. Ah I
Iago {going close up to him and almost in m
whisper) .
Beware my lord, of jealousy!
It is the g^een-eyed monster, cruelly, aye, il
doth mock
The meat it feeds on, and with its poison
doth 'change our nature.
Othello. O misery! No! Thinks't thou
ril make a life of suspicion ?
I will see before I doubt, when I doubt I
will prove,
And on the proof — 'tis thus that Othello
decrees —
Away at once with jealousy and love to-
gether.
Iago {more frank in manner).
I am glad, for I can show the love and duty
I bear you.
I do not speak of proof yet. Look to your
wife, Othello,
Watch her closely, too often are free and
open natures
Like yours abused by falsehood and decep-
tion ; watch her closely,
Observe her well with Cassio. One un-
guarded word, one gesture,
May to your faith restore you, or confirm
your suspicion.
Here she is, watch her closely.
{Desdemona is seen returning to the^ garden
through the large opening at the back;
she is surrounded by tvomen^ children^ and
Cypriot and Albanian sailors^ who come
forward in turn and offer her flowers and
other gifts. They singy accompanying
themselves^ some on the guzla [a kind of
mandolin'\y and others on small harps .)
Chorus {in the garden) •
Wheresoe'er thy glances shed
Brightness, hearts must meet thee ;
Wheresoe'er thy footsteps tread
Flow'rs spring up to greet thee.
Rose and lily bringing.
We approach thy shrine.
Old and young are singing,
And our songs are thine.
18
Fanciulu {sfargendo at suolo fiori di giglio),
T' offriamo il glglio
Soave stel
Che in man degli angeli
Fu assunto in ciel,
Che abbelia il fulgido
Manto e la gonna
Delia Madonna
E il santo vel.
DOKNB B MaRINAI.
Mentre all' aura vola
Lieta la canzon,
L' agile mandola
Ne accompagna il suon.
Marinai {offrendo a Desdetnona dei tnonilt di
cor alio e diferle),
A te le propore,
Le perle e gli ostri,
Nella voragine
C61ti del mar,
Vogliam Desdemona
Coi doni nostri
Come un' imagine
Sacra adomar.
Fanciulli e Donne.
Mentre all' aura vola
Lieta la canzon,
L' agile mandola
Ne accompagna 11 suon.
Lb Yyo'tkmiB.ijspargendo fronde e Jiori).
A te la florida
Messe dai grembi
A nembi, a nembi,
Spargiamo al suol.
\J April circonda
La sposa bionda
D' un' etra rorida
Che vibra al Sol.
Fanciulli e Marinai.
Mentre all' aura vola
Lieta la canzon,
L' agile mandola
Ne accompagna il suon.
Turn.
Dove guard! splendono
Raggi, awampan cuori,
Dove passi scendono
Nuvole di fiori.
Qui fra gigli e rose,
Come a un casto altar,
Padri, bimbi, spose
Vengona a cantar.
Childr:qn {strewing lilies on the ground).
We bring thee lilies
On slender stem,
In heav*n the hand of angels
Proffers them.
Strewn with their petals
Our lady's gown is,
Her sacred crown
Is gemmed with their light*
Women and Sailors.
Rising even higher
Sounds our song afar.
With our voices blending
Cither and guitar.
Sailors {offering Desdemona necklaces of
corals and pearls.
To thee we proffer
The richest pearls and corals,
Which we have deftly gathered
Deep in the sea.
Thee, Desdemona,
Like the fairest image.
With all our treasures
Crowning are we.
Children and Women.
Rising ever higher
Sounds our song afar,
With our voices blending
Cither and guitar.
Women {strewing leaves and Jloweri).
For thee we gather' d
Blossoms of spring-time.
We strew them,
For they are thine.
Thy fair, thy silken tresses.
Sweet April shall fan them»
And Morn surround them
With its golden shine.
Children and Sailors. ^
Rising ever higher
Sounds our song afar,
With our voices blending
Cither and guitar.
All.
Wheresoe'er thy glances shed
Brightness, hearts must meet thee,
Wheresoe'er thy footsteps tread,
Flow'rs spring up to greet thee.
Rose and lily bringing,
We approach thy shrine.
Old and young are singing
And our songs are thine.
19
^
Desdemona.
Splende il cielo, clanza
L' aura« olezza il Hore.
Gioia, amor, speranza
Cantan nel niio core.
CoRO. Vivi felice ! Addio. Qui regna Amore.
{Durante il Coro, Otello osserva con J ago,)
Otello {soavemente commosso) .
Quel canto mi conquide.
No, no, s' ella m' inganna, il ciel se stesso
irride !
Jago. (Belt^, letizia, in dolce inno concordi !
I vostri in frangerd soavi accordi.)
SCENA IV.
Finito il Coro, Desdemona bacia la testa d*
alcuni tra i fanciulli^ e alcune donne le
baciano il Umbo della veste^ ed essaporge
una borsa ai marinai. — // Coro s' allon-
tana: Desdemona^ seguita poi da Emilia^
entra nella sala e s* avanza verso Otello.
Desdemona. D' un uom che geme sotto il tuo
disdegnb
La preghiera ti porto.
Otello. Chi e costui ?
Desdemona. Cassio.
Otello. Era lui
Che ti parlava sotto quelle fronde ?
Desdemona. I ui stesso, e il suo dolor che in
me s* infonde
Tanto e verace che di grazia e degno.
Intercedo per lui, per lui ti prego.
Tu gli perdona.
Otello. Non ora.
Desdemona. Non oppormi il tuo diniego.
Gli perdona.
,^-nOtello. Non ora.
; T iDesdemona. Perche torbida suona
^^ La voce tua? qual pena t* addolora?
Otello. M' ardon le tempie . . .
Desdemona {spiegando il suo fazzoletto come
per fasciare la fronte d* Otello).
Quell' ardor molesto
Svanira, se con questo
Morbido lino la mia man ti fascia.
Otello {geiia il fazzoletto a terra).
Non ho d'uopo di ci5.
Desdemona. Tu sei crucciato,
Signor.
Desdemona.
Sunlight blowing breezes
Rose and heliotrope,
Fill my heart with gladness,
Wak^n joy and hope.
Chorus. Live long and happy I Here reignf
sweet love.
Othello (softly moved).
Their song has wrung my bosom.
No, no, if she deceive me, the heav'n itselPs
a liar.
Iago. See love and beauty together are dwellmg
Until I come their sweet concord dispelling.
SCENE IV.
When the singing is over^ Desdemona kisses
some of the children ^ and some of the
women kiss the hem of her gown. She
gives the sailors a purse. Exit chorus
slowly. Desdemona,, followed by Emi/ia^
comes forward in the hall where Othello
stands.
Desdemona.
I have been talking lately to a sailor
Who has felt your displeasure.
Othello. Whom dost mean?
Desdemona. Cassio.
Othello. Then 'twas he who spoke to thee e'en
now in yonder arbor?
Desdemona. None other ; aye, sooth ! he went
away so humble
That he has left half his grief with me. ^
If I have any grace or pow'r to move you,
You must forgive him.
Othello. Not now.
Desdemona. Nay, I'll take not your denial.
Ah ! Forgive him.
Othello. Not now.
Desdemona. Why dost speak so faintly.^ Art
thou not well.'* Does any pain afflict
thee?
OTiiELLO. Here on my forehead.
Desdemona (spreading out her handker-
chief a^ if to tie it round the forehead oj
Othello).
'Twill away again.
Within this hour 'twill be well again.
If you will let me bind it with this napkin.
Othello (throws the handkerchief down).
' Tis too little for me.
Desdemona. 1 am very sorry, my lord.
20
Otbllo (aspramente) .
Mi lascia !
(^Emilia raccoglie ilfazzoletto dal suolo.)
Desdbmona. Se inconscia, contro te, sposo,
ho peccato
Dam mi la dolce e lieta
Paro o del perdono.
La tua fanciulla io sono
(Jmile e mansueta ;
Ma il labbro tuo sospira,
Hai r occhio fiso al suol.
Guardami in volto e mira
Come favella amore.
Vren ch' io t* allieti il core,
Ch' io ti lenisca il duol.
Otello {a partey.
(Forse perchfe gli inganni
ty arg'tto amor non tendo,
Forse perch^ discendo
Nella valle degli anni,
Forse perche ho sul viso
Questi attro tenebror,
Ella e perduta e irriso'
Io sono e il cor m' infrango
£ ruinar nel fango
Vedo il mio sogno d' 6r.)
J AGO (a Emilia sotto VOC4) .
(Quel vel mi porgi,
Clr or hai raccolto.
Bkxlia {sotto voceayafo) .
Qual frode scorgi?
Ti leggo in volto.
T* opponi a voto
Quand* i comando.
11 tuo nefando
Livor m' & noto*
Sospetto insano!
Guardla fedel
E qucsta mano.
Dam mi quel vel I
J.
B.
J.
iy<'£** offerra viotenimenU
braccio di EmUia,}
T. Su te 1' irosa
Mia man s' aggrava!
Son la tua sposa.
Non la tua schiava.
La scliiava impura
Tu sei di Jago.
Ho il ccr presago
D una sventura.
Ne mi pavcnti?
Uomo crudel I
A me.
Chetenti?
A me quel vel i)
uM colpo di mamn
J.
B.
J.
B.
k
J.
{Con
J ago kacarpiioU/i
Mio ad Emilia.)
J. (Gia la mia brama
Conquido, edora
Sa qiieata traroa
Jago lavora!
B. (Vinser gli artigli
Trud e codardi.
Dio dai perigli
Scmpre ci guard!.)
axzo-
Otbllo. Escite ! Solo vo* restar.
Jago (^sotto voce ad Emilia che sta per
escire) •
(Ti giova.
Tacere. Intendi } )
(Desdemona ed Emilia escono, Jago fingi
d" escire dalla porta del fondo^ magiuntovi
s* arresla.)
SCENA V.
Otello ; Jago nel fondo,
Otello (accasciato, su d' tin sedile*)
Desdemona rea !
Jago {nel fondo guardando di nascosto il
fazzoletto, poi riponendolo con cura nel
giustacuore) .
Dear husband, let me pray it,
The word of pardon say it.
I am thy child, thy servant.
Of thy least hint observant ;
Thy silence speaks of sadness,
Thy face is turned from me.
See in my eyes the token
Of vows of love unbroken.
Oh, let me cheer thy sadness.
Oh, let me comfort thee !
Othello {roughly).
Ah, leave me ! Ah, leave me f
{Emilia picks up the handkerchief,)
Desdemona. If ever 'gainst my will I have
offended, ^^«?J^'''' '? -£«•»««).
' That napkin give me;
I have been watch^
ing.
Emilia {asidtto logo).
Some plan yoa're
hatching,
You'll not deoeire
me.
I. To roe defiance
How dare you show
it?
E. Your wicked schem.
ing
Too well I know it.
I. Sure you are dream-
E. In my own trust
I place reliance.
I. Give it you must!
( Violently j^rasfing ikt
arm of Emilia,)
My hand in strife
You cannot brave.
E. I am your wife.
And not your slave.
I. My bondsmaid are
Believe my messaf^e.
E. My heart has presage
ox boding evu.
I . Now do I scare you.
E. Ah, cruel man.
I. For\ne —
E. No, never.
I. That handkerchief.
XWilh a sudden wrench
la^o tears the handker-
chief from Emilia.)
Spent is my anger*
Firmly I hold Uiem
Here in my meshea^
lago's master.
E. Lurking disaster
Spreads out itsi mesh.
es,
God in their danger
Strengthen, uphold
\ them.
Othello
{Aside) .
Happily because I lack
Soft parts of conversation.
Or that I am declined
Into the valley of years,
Happily because my visage
Is dyed of deepest black.
Her life is ruined, a by-word
Am I, my heart is broken,
And in the dust is scattered
My golden dream of love.
Othello. All leave me ! I would be alone.
I AGO (aside to Emilia who is about to go).
Of this not a word, I charge you.
{Exeunt Desdemona and Emilia. lago goes
toward the door at back^ but remaim
standing there.)
SCENE V.
Othello ; I ago at the hack.
Othello {Exhausted., throws himself in a
chair).
The false Desdemona !
Iago {at back., looking at the handkerchief .^
ana then carefully replacing it in his
doublet) •
OUv^rii^-'
21
<^
^
! (Con quest! fili tramerb la prova
^ Del peccato d' amor. Nella dimora
Di Cassio cio s* asconda.)
Otello. Atroce idea !
Jago (^fra skyfissando Otello*^
(II mio velen lavora.)
Otello. Rea contro me I — contro me 1
Jagg. (Soffri e ruggi !)
Otello. Atroce 1 — atroce !
Jagg {dofo essersi porlato accato ad Otello
— bonriamente) .
Non pensatedi piu.
Otbllo {balzando).
Tu ? Indietro ! fuggi !
M' hai legato alia croce ! . • •
Abime! . . . Piu orrendo d* ogni oi-
renda ing^uria
jl>]^Deir ingiuria h il so petto.
A^v^Neir ore arcane della sua lussuria
^ I E a me furate ! m* aeitava il petto
cy^
agitava li petto
Forse un presagio? £ro baldo, giulivo •
Nulla sapevo ancor ; io non sentivo
Sul suo corpo divin che m' innamora
£ sui labbri mendaci
Gli ardent! baci
^Di Cassio ! — Ed ora I . . . ed ora.
^T5ra e per sempre addio sante memorie,
Addio sublimi incanti del pensier !
Addio schiere fulgent!, addio vittorie,
Dardi volant! e volant! corsier !
^ Addio vessillo trio fale e pio
E diane squillen i in sul mattin !
Clamor! e cant! d! battaglia, addio I • •
Delia gloria d' Otello h questo !1 fin.
• •
Jagg. Pace, signor.
Utello. Sciagurato I mi trova
Una prova secura
Che I^esdemona h impura • • .
Non sfuggir ! non sfuggir ! nulla ti giova !
Vo' una secura, una visibil prova !
(Afferando yago alia gola e alter randolc)
suUa tua testa
S' accenda e precipiti il fulmine
Yea, trifles light as air are to the jealoug
Proof of holy writ. Now will I lose
In Cassio's house this napkin.
Othello. Oh, monstrous, monstrous!
I ago {to himself^ watching Othello).
He changes with my poison.
Othello. Ha ! false to me ! ha ! to me !
Iago. Writhe and foam thou !
Othellg. Oh, monstrous ! oh, monstrous 1
Iago {going up to Othello cordially.)
Gen'ral, no more of that!
Othello {staggering).
Thou ? Avaunt thee ! leave me
On the rack thou hast set me !
Ah, me ! I sw^ear *tis better to be mucb
abused
Than know it a little.
What sense had I of her stol'n hours of
lust
(Though stolen from me? Them I saw
not, thought not,
They never harmed me. Free and merry
was I,
Not knowing aught of this. I did not wince
When her sweet body I clasped in tender
passion.
Nor did find on her lips
The burning kisses
Of Cassio ! And now an d now —
And now forever farewell, thou tranquil
mind.
Farewell content and noble thoughts of
fame !
Farewell thou plumed troop, thou glorious
battle.
Thou swiftly flying shaft, and the neighing
steed «
Farewell the royal banner and farewell all
quality.
Pride, pomp, and circumstance of war !
The spirit stirring drum, the fii^^ — fare-
well,
Now and forever ! Othello's occupation's
gone.
[ago. Peace, peace, my lord.
Othello. Ha ! Thou villain ! Now make me
To see it or prove it
That my love is a strumpet —
No escape, no escape shall now avail thee I
Sure be of it, give me the ocular proof!
{He grasps Jago by the throat and throws
him down,)
Or now in thy forehead
Shall instantly all my waked wrath
g
^
1
22
Del mio spaventoso furor che si desta !
Jago {rialzandosi) .
Divina grazia difendimi ! — II cielo
Vi protegga. Nou son piii vosiro alfiere.
Voglio che il mondo testimoa mi sia
Che r onesta e periglio
{^Fa par andarsene.)
Otello. No . . • rimani.
Forse onesto tu sei.
Jago {sulla soglia jingendo d* andarsene) ,
Meglio varrebbe
Ch* io fossi un ciurmadon
Otello. Per I'uni verso !
Credo leale Desdemona e credo
Che non lo sia ; te credo onesto e credo
Disleale ... La prova io voglio ! voglio
La certezza!
Jago {ritomando verso Otello),
Signor, frenate I'ansie.
E qual certezza v* abbisogna ? — Awinti
Verderli forse?
Otello. Ah ! Morte e dannazione !
Jago. Ardua impressa sarebbe ; e qual certezza
Sognate voi se quell* immondo tatto
Sempre vi sfuggira ? . . . — Ma pur se
guida
£ la ragione al vero, una si forte
Congettura riserbo che per poco
Alia certezza vi conduce. Udite :
(Avvicinandosi mollo ad Otello e sotto voce,)
Era la notte, Cassio dormia, gli stavo ac-
canto.
Con iiiterrotte voci tradia Tintimo incanto.
Le labbra lente, lente, movea, nell' abban-
dono
Del sogno ardente ; e allor dicea, con fiebil
suono :
Desdemona soave ! H nostro amor 5' as-
conda
Caut I vcgliamo ! Pestasi del del tutto m^
innonda,
Seguia piu vago I'incubo blando ; con molle
angoscia,
L'interna imago quasi baciando, ei disse
poscia :
// rio destino impreco che al Moro ti dono»
E allora il sogno in cleco letargo si mut6.
Accumulate and with swiftness of lightning
destroy thee I
Iago {rising).
The grace of Heaven forgive me ! Be God*s
Own mercy with you ! You may take now
my office.
Witness, O word, that it is safe no longer
To be direct and honest.
{He makes pretence oj^ leaving.)
Othello. Nay, abide yet ;
Haply honest thou art.
Iago {on the threshold still pretending to with"
draw) .
I should be wise, for honesty's a fool.
Othello. The would-be witness !
I think my wife may be honest and think
May be she's not ; I think thou art just and
think
That thou art not. Til have some proof;
Would that I were satisfied !
[ago {returning to Othello).
I do not like the office.
What shall I say, where's satisfaction ?
You would not observe them in secret?
Othello. Ha ! Death and damnation !
[ago. It were difficult, truly. No satisfaction
There is for you. Will not the hideous
deed
For ever thine eyes escape? But yet, I say
If imputation strong and many circum*
stances,
Grossly suspicious will but give
You satisfaction, you may have it. Now
listen.
{He goes closely up to Othello; in a whisper:)
I lay with Cassio lately, and sleepless I
watched his slumbers.
All of a sudden he 'gan to mutter what he
was dreaming.
Moving his lips, then gently and slowly
words of deep import
I heard him mutter, saying in tearful, pas-
sionate accents :
'* My sweetest Desdemona, let us be wary
ever,
Cautiously hiding what to thee and me
is heavenly rapture."
Then, in his dreaming, moved he towards
me, sighing and kissing.
Gently caressing his fancy's image, he thu^
did murmur,
" Oh ! threefold cursed fortune that gave
thee to the Moor ! "
And after that the dream forsook him, and
calmly he then slept.
23
Otbllo. Oh ! mostruosa colpa !
Jago. Io non narrai
Che un sogno.
Otello. Un sogno che rivela un fatto.
Jago, Un sogno che pub dar forma di prova
Ad altro indizio.
Otello. E qual ?
Jago. Talor vedeste
In mano di Desdemona un tessuto
Trapunto a fiori e piii sottil d'un velo?
Otello. E il fazzoletto ch* io le diedi, pegno
Prime d'amor.
Jago. Quel fazzoletto ieri
(Certo ne son) Io vidi in man di Cassio.
Otello. Ah ! mille vite gli donasse Iddio
Una e povera preda al furor mio !
Jago, ho il cuore di gelo.
Lungi da me le pietose larve !
Tutto il mio vano amor esalo al cielo,
Cuardami, — ei sparve.
Nelle sue spire d'angue
L'idra m'avvince ! Ah ! sangue ! sangue !
sangue !
( S'inginocch ia» )
Si pel ciel marmoreo giurb ! Per le attorte
folgori !
Per laMorte e perl'oscuro mar sterminator ?
D'ira e d'impeto tremendo presto fia che
sfolgori
Questa man ch' io levo e stendo !
(^Levahdo la mano al cielo, ^
Jago.
(^Otello fa peralzarsiy Jago Io trattiene ingin-
occhialo e s'inginocchia anch'esso.)
Non v' alzate ancor !
Testimon e il Sol ch' io miro, che m'irradia
e inanima,
L'ampia terra e il vasto spiro del Creato
inter,
Che ad Otello io sacro ardenti, core brac-
cio ed anima
S'anco ad opere cruenti s'armi il suo voler !
^Insieme alzando le tnani al cielo come chi
\ giura,)
Ja^o e Otello.
/ Si pel ciel marmoreo giuro ! per le attorte
folgori !
Per la Morte e per Toscuro mar stermina-
tor!
D'ira e d'impeto tremendo presto fia che sfolgori
Questa man ch' io levo e stendo. Dio vendl-
cator 1
I Othello.
Oh I monstrous deed I oh, monstrous I
Iago. Nay, this was but his dreaming.
Othello. Denoting a foregone conclusion.
Iago. 'T may thicken other proofs that do
demonstrate
Now too thinly.
Othello. And how?
Iago. Have you seen never
In Desdemona's hand a napkin spotted
With strawberries, and of most subtle texture?
Othello.
Such is the handkerchief I gave her, 'twas
My first gift to her.
Iago. That self-same napkin lately,
I take my oath, was in the hands of Cassio.
Othello.
Ah ! that the slave had fortv thousand lives !
• One is all too weak for my revenge !
Listen to me, Iago.
My fondest love thus do I blow to heaven.
Rise now black vengeance from thy hollow
cavern !
Look on me ! 'Tis gone I
Yield up, oh love, thy crown
To tyrannous hate I Oh, blood ! blood ! blood !
{^He kneels,^
Witness yonder marble, and th' eternal
lights above,
And the elements that clip us round about !
Never shall cease my hatred, never end my
wrath until
This hand hath wrought my vengeance.
i^He lifts up his hand.)
Iago ( Othello is about to rise ; Iago holds him
down,)
Nay, arise not yet !
Witness sun which us illumines, earth on
which we live,
Yon ambient air in which we breathe the
all Creator's breath.
Witness that Iago doth give up his wit, his
hands, his heart.
To wronged Othello's service. Let him but
command !
Iago and Othello {both raising their hands
as for a solemn oath) .
Witness yonder marble, and th' eternal
lights above,
And the elements that clip us round about !
Never shall cease my hatred, never end my
wrath, until
This hand hath wrought my vengeance.
14
ATTO SECONDO.
Una Sala Terrena nel Castbllo.
Due vasti veroni ai tali : una porta nel mezzo
che di sul g-iareUno,
SCENA PRIMA.
yaffo al di qua del verone. Cassio aldi la.
[ago. Non ti crucciar. Se credi a me, tra
poco,
Farai ritorno ai folfeggtantt amort
Di Monna Bianca, altiero capitano,
Coir elsa d' ora e col balteo fregiato.
Cassio. Non lusingarmi . . .
Jagg. Attendi a ci6 ch' io dico.
Tu dei saper che Desdemona e il Duce
Del nostro Duce, sol per essa ei vive.
Pregala tu, quell' anima cortese
Per te interceda e il tuo perdono e certo.
Cassio. Ma come favellarle?
■
Jago. £ suo costume
Girsene a merlggiar fra quelle fronde
Col la consorte mia. Quivi V aspetta.
Or t' e aperta la via di salva zione ;
Vanne.
(^Cassias' allotauna,)
SCENA IT.
Jagg {solo) {jseguendo colV occhio Cassto) .
Vanne ; la tua meta gia vedo.
Ti spinge il tuo dimone,
E il tuo dimon son io,
E me trascina il mio, nel quale io credo
Inesorato Iddio :
{^Allontanandosi dal verone senza piu guardat
Cassio che sara scomparso tra gli alberi, )
— Credo in un Dio crudel che m* ha creato
Simile a se, e che nell* ira io nomo.
— Dalla vilta d' un germe o d' atbmo
ACT SECOND.
A HALL ON THE GROUND FLOOR OP THE CaSTLB.
A glass partition divides it from a large gar*
den at back, A terrace*
SCENE I.
Iago. Nay, do not fret. Trust but in me, I
promise
Thou'lt bask once more in the bright beam-
ing glances
Of Mistress Bianca, as dapper a lieutenant
As ever thou wert, with gilded hilt and
baldrich.
Cassio. Do not deceive me.
Iago. Nay, hear but what I counsel.
Our gen'ral's wife, as thou must know, is
now
Our gen'ral's gen'ral, he her humble ser-
vant ;
Importune her, hers is so kind, so blessed,
A disposition, that she will work your par-
don.
Cassio. But how to gain her presence ?
Iago. It is her wont
To rest at noon of day in yonder arbor ;
Talking with my wife. Here, then, await
her, . ,
The road I've shown thee that leads to thy
salvation.
Go then. ( Cassio goes towards the hack.)
SCENE II.
Iago {alone), {Following Cassio with his eye.)
Go then ; well thy fate I descry,
Thy demon drives thee onward.
That demon, Io ! am I ;
E'en as mine own impels me, on whose
Command I wait, relentless Fate.
{He comes forward without taking further
notice of Cassio^ who disappears,)
Cruel is he, the God who in his image
Has fashioned me and whom in wrath I
worship.
From some vile germ of nature, some pal-
try atom.
15
Vile son nato.
Son scellerato
Perch^ son uomo ;
F grnto il faiigu UTiginano m me.
Si ! questa e la mia fe !
Credo con fermo cuor, siccome crede
La vedovella al tempio,
Che il mal ch' io penso e che da me pro-
cede
Per mio destino adempio.
Credo che il giusto e un istrion befTardo
E nel viso e nel cuor,
Che tutto e in lui bugiardo :
Lagrima, bacio, sguardo,
Sacrificio ed onor.
£ credo Tuom gioco d' iniqua sorte
Dal germe della cuUa
Al vermo dell* avel.
Vien dopo tanta irrision la Morte.
E poi ? — La Morte e il Nulla
£ vecchia fola il Ciel.
I took mine Issue*
Vile is my tissue.
For 1 am human.
I feel the primal mudflow of my breed.
Yea I This is all ray creed,
Firmly I do believe as e'er did woman
Who prays before the altar,
Of ev*ry ill whether I think or do it,
'Tis Fate that drives me to it.
Thou, honest man, art but a wretched
player.
And thy life but a past ;
A lie each word thou sayest.
Tear-drops, kisses, prayers,
Are as false as thou art.
Man's fortune's fool, e'en from his
breath.
The germ of life is fashioned
To feed the worm of death, v
Yea, after all this folly all must die,
And then? And then there's nothing,
And heaVn an ancient lie.
(^Dal verone di sinistra si vede passare nel
giardino Desdemona con Emilia, Jago si
slancia al verone^ al di la del quale si sard
apposta o Cassia.)
Jago {parlando a Cassio),
Eccola . . . Cassio • . a te • .
. Questo e il momento.
rTi scuoti . . . vien Desdemona.
(^Cassia va verso Desdemona^ la saluta^ le s'
accosta,)
S' e mosso ; la saluta
E s' avvicina
Or qui si tragga Otello! • • • aiuta,
aiuta
Satana il mio cimento ! . • .
{^Sempre al verone^ osservando^ ma un poco
discosto^
{Si vedono ripassare nel giardino Cassio e Des-
demona.) ^
Gia conversano 4nsieme • • 1' ed essa
inclina, /
Sorridendo il bel viso, ^ '
Mi hasta un lampo sol di quel sorriso
Per trascinare Otello alia ruina ^
Andiam ... i
^JPa per avviarsi rapido alF ^iiscio del lato
destro ma s*arres a subitamente.) \
{^Desdemona and Emilia are seen to enter the
garden. lago goes toward the terrace^
beyond which Cassio has taken his post*
tion,)
Iago {to Cassio).
Now, take care. Cassio ! To lier ! This is
the moment.
Now haste thee, Desdemona comes.
( Cassio goes to Desdemona^ bows to her and
joins her.)
He's near here ; and he greets her
And does accost her.
Now must I fetch Othello ! Divinities of
hell,
I call upon your succor.
( Cassio and Desdemona are seen passing back''
ward and forward in the garden.)
They are talking in whispers, and now to
him
Has she inclined her gentle visage.
Ay, smile upon her, do ! An excellent cour-
tesy.
This smile shall lure Othello to his ruin. *
To work I
(He goes rapidlv toward the door^ but suddenly
stops*
A
/
26
• •
» f •
• • ft
Otbllo. Pel cielo I ranima mia si clesta !
II fazzoletto. . .
Desdemona. £ Cassio 1' amico tuo diletto.
Otello. II fazzoletto !
Desdemona. A Cassio perdona. • •
Otello. II fazzoletto !
Desdemona.
Gran Dio ! nella tua voce v* 6.}m.*g;Alo di
minaccia ! * *• '
Otello. Alza quegli occhi !.-.
{Prendendola a for z a sotf&Jl ntefito e alia spalla
e obligandola^fi £uardarlo,)
• • **• *
Desdemona. At^>ti€r«iaea !
Otello. GuariUnrti In faccia !
Dim mi cfii seil
Desdemcwj^.' • La sposa fedel d'Otello.
Otello. Giura !
Giura e ti danna. . •
Desdemona. Otello fedel mi crede.
Otello. Impura
Ti credo.
Desdemona. Iddio m' ainti I
Otello. Corri alia tua condanna,
Di' che sei casta.
^-Desdemona (fissandolo) . Casta . . • lo son . . .
rd,
'Ello. Giura e ti danna !
Desdemona.
Esterrefatta fisso lo sguardo tuo tremendo,
In te parla una Furia, lasento e non Tin
tendo.
Mi guarda ! il volto e 1* anima ti svelo ; il
core infranto
Mi scruta . . . io prego il cielo per te con
questo pianto. *
Per te con queste sti le cocenti aspergo il
suol.
Guarda le prime lagrime che da me spreme
il duol.
Otello.
S* or ti scorge il tuo demone un angelo ti
crede
E non t* afferra.
Desdemona. Vede TEterno la mia fede I
Otello. No ! la vede Tinferno.
Desdemona. La tua giustizia impetro,
Sposo mio !
Otello. Ah ! Desdemona ! — Indietro ! indietro !
indietro I
Desdemona. Tu pur piangi ! . . . e gemendo
freni del corlo schianto
E son io 1' innocent ecagion di tanto plan
to ! . . .
Qual c il mio fallo }
Othello. By heav'n, I say, my mind misgives
me. That handkerchief —
Desdemona. To Cassio*s suit you must listen.
0THELLO. That handkerchief!
Desdemona. To Cassio's suit you shall listen !
Othello. That handkerchief!
Desdemona. Great heav'n,you seem to threaten ;
there is fury in your words.
Othello. Lift up thine eyes !
(^Putting one hand under her chin^ the other on
her shoulder and forcing her to look at him.)
Desdemona. Most horrid thought I
Othello. Look in my face !
Tell me what art thou }
Desdemona. Your loyal wife, Othello.
Othello. Swear it I
Damn thyself swearing.
Desdemona. Yea, Heav'n does most truly
know it.
Othello. A strumpet
I think thee.
Desdemona. O Heaven forgive us I
Othello. Once more thy falsehood utter !
Say, thou art honest.
Desdemona {looking firmly at him) .
Honest, I am I
Othello. Swear it, damn thyself.
Desdemona.
Upon my knees before thee, beneath thy
glance I tremble.
I understand a fury in your words, but not
the words.
Behold me ! to thee my face and soul lie
open, oh look into
My broken heart. I pray, my sighs rise to
heaven with a prayer.
For thee these bitter tear-drops bedew the
earth.
Tears, the first I ever shed.
Othello. Friends themselves would not seize
thee, being like to one of heaven,
In mien and semblance.
Desdemona. God sees my heart and knows me
honest.
Othello. No ! He knows thou'rt perjured.
Desdemona. Be just unto thy loyal wife,
Othello.
Othello. Oh, Desdemona! away! away!
away !
Desdemona. Dost thou weep ? Ah ! the heavy
day, alack the day !
Whose the fault ? Am I the motive of these
tears ?
Have I offended?
27
^
Otbllo. £ il chiedi? ... II piu nero delitto
Sovra il candido giglio della tua fronte e
scritto.
Desdemona. Ahime I
Otello.
Che ? non sei forse uua vil cortigiana ?
Desdemona. Ciel I No — no — pel battesmo
della fede cnstiana I —
Otello. Che? —
Desdemona. Non son cio che esprime quella
parol a orrenda.
(^Otello prende Desdemona per mano e la con-
duce alia porta d'onde entro,)
Otello. Datemi ancor Teburnea mano, vo'
fare ammenda.
Vi credea (perdonate se il mio pensiero e
fello)
Quella vil cortigiana che e la sposa d'Otello.
{Alle ultime parole, Otello che sar sulA limi-
are della porta di sinistra, sforza con una
inflessione del braccio, Desdemona adescire,
— Poi ritorna verso il centro della scena
net Massimo grado dell* abattimento.)
SCENA III.
Otello.
Dio ! mi potevi scagliar tutti i mali
Delia miseria, — della vergogna,
Far de* miei baldi trofei trionfali
Una maceria, — una menzogna —
E avrei porta to la croce crudel
D'angoscie e d'onte
Con calm a fronte
E rasseg^ato al volere del ciel.
Ma, o piatito, o duol ! m' han rapito il mi-
raggio
Dov* io, giulivo, — I'anima acqueto.
Spento e quel sol, quel sorriso, quel
raggio
Che mi fa vivo — che mi fa lieto !
Tu alfin, Clemenza, pio genio immortal
Dal roseo riso,
Copri il tuo viso
Santo coir orrida larva infernal !
Othello. You ask me? See the foul word is
written
On the whitest of pages of this most goodly
book.
Desdemona. Alas !
Ofhello. What? Are not you then. an impu*
dent strumpet?
Desdemona. No ! no ! no I Your vile charges
are false, as I am a Christian.
Othello. What?
Desdemona. No ! I am not a strumpet. The
horrid word I g^asp not.
( Changing suddenly from wrath to calm irony ^
takes Desdemona by the hand and leads
her to the door,)
Othello.
Once more give me your hand as white as
snow. I crave your mercy.
I mistook you (Pray you, forgive, if in
thought or word I wronged you)
For that strumpet of Venice that has married
Othello.
(^OthellOy with a motion of his arm^ but with-'
out changing his position, pushes Desde-
mona out of the room. Then he returns
to the centre of the stage in deep dejection,)
SCENE IIL
Othello.
Heav'n, had it pleased thee to try me with
affliction.
Had it rained sorrow on my base forehead 9
And to the very lips in poverty steeped me,
Giv'n to captivity me and my hopes,
I could have borne it, though bitter it were,
And shameful, calm patience
^ I should have found still
In some one place of my innermost soul.
!ut, but there, alas ! where I garnered my
heart,
Where either I must live or bear no life,
The crystal fountain
From which my current ever runs or else
dries up;
To be discarded then ! Patience, thou young
And rose-lipped cherubim 1
Turn thy complexion ther^.
Ay, there look as g^im as hell I
28
SCENA IV.
Otello, poi Jago.
Otello. Ah ! Dannazione !
Pria confess! il delitto e poscia muoia I
Confession ! Confession ! —
{Entra Jago,)
La prova ! —
Jago.
{Accanto ad Otello e indie undo r Ingres so.)
Cassio e la !
Otkllo. La? I Cielo! gioia !
(^Poi con siibito raccapriccio.)
Orror ! — Supplizi immondi !
Jago. Tifrenal Ti ascondi.
{^Conduce rapidatnente Otello del fondo a sin-
istra dove d* ^ il vano del verone corre il
fondo del peristilio dove incontra Cassio
che esita ad entrare,)
SCENA V.
Otello nascosto. Jago e Cassio.
/ago. Vieni ; Taula e-dserta.
T* inoltra, Capitano.
Cassio. Questo nome d'onor suona ancor vano
Per me.
Jago. Fa cor, la tua causa h in tal mano
Che la vittoria h certa.
Cassio. Io qui credea di ritrovar Desdemona.
Otello {nascosto), (Ei lanomb.)
Cassio. Vorrei parlarle ancora,
Per saper se la mia grazia e pioflerta.
Jago (gaiamentc). L'attendi ; e intanto, giacch^
non si stanca
Mai la tua lingua nelle fole gale,
Narrami un po' di lei che t' innamora.
( Conducendo Cassio accanto alia prima colonna
del peristilio,)
Cassio. Di chi?
Jago {sotto voce assai) . Di Bianca.
Otello. (Sorride !)
Cassio. Baie I . . •
Jago. Essa f a wince
Coi vaghi rai.
Cassio. Rider mi fai.
SCENE IV.
Othello {then I ago) .
Death and damnation !
To me thou shalt confess thee, and die there*
after !
Handkerchief I Handkerchief !
{Enter lago.)
Confess it I . . .
Iago {pointing to the entrance). Cassio's
there.
Othello. There? Heaven!
{Relapsing into hisjirst meod.)
Oh ! monstrous ! Their stolen pleasures !
Iago. There hide thee ! List in patience.
{He leads Othello quickly to the terrace right
back and runs to the portico^ where lie
meets Cassio y who enters.)
SCENE V.
Othello {hidden)^ Iago, and Cassio.
Iago. Come then, the hall's deserted,
How goes it, my good lieutenant.^
Cassio. All the worst that you call me by the
name
I have lost.
Iago. Take heart, in such hands is your case.
That surely you must win it.
Cassio. Here did I hope to meet with Desde-
mona.
Othello {hidden). He's named her name.
Cassio. Once more I fain would ask her,
That she bring my anxious suit to an issue.
Iago {gaily).
Await her, and meanwhile I know that thy
tongue
Is burning to tell me all thy am'roiis follies.
Say then, and speak of her whom thou
adorest.
{Leading Cassio to the Jirst column of tis
portico.)
Cassio. Of whom }
Iago {very slowly). Of Bianca.
Othello. He's laughing.
Cassio. Nonsense !
Iago. Say, wilt thou wed her?
Say, art thou conquered?
Cassio. I can't help laughing.
29
Jago. Ride chi vince.
Cassio.
{Ridendo.)
In tai disiide per verita,
Vince chi ride — Ah ! Ah I
Jago.
{Come sopra.)
Ah ! Ah !
i Otello.
(L'empio trionfa, il suo scherno m' uccide ;
Dio frena Tansia che in core mi sta !)
Cassio. Son gia di baci
Sazio e di lai
Jago. Rider mi fai.
Cassio. O amor' fugaci !
Jago. Vagheggi il re no — d'altra belta
Colgo nel segno? —
Cassio. Ah ! Ah !
Jago. Ah ! Ah !
Otkllo.
(L* empio m' irride — il suo scherno m'
uccide ;
Dio frena Tansia che in core mi sta !)
Cassio. Nel segno hai cdlto.
Si, lo confesso.
M' odi. . . .
. Jago.
(Assai sotto voce.)
Somme-so
Parla. T' ascolto.
Cassio.
{Assai sotto voce, tnentre Jago lo conduce
posto piu lontano da Otello,)
{or si, or no si senton le parole.)
£3^0,1*6 nota
mia dimora. . . .
{E parole si perdono!)
Otello.
{Avvicinandosi un poco e cautamente pe^ tidir
cio cite dicono.)
(Or gli racconta il modo,
II iuogo e Torat. . . .
Cassio.
{Continuando il racconto sempre sotto voce)
• • . • • •
Da mano ignota. . . .
• •••.•
{Le paro e si perdono ancora . )
Otello.
(Le parole non odo. . . .
Lasso ? e udir le vorrei * Dove son giunto ! |
Iago. He wins who laughs last.
Cassio {laughing). It is the monkey's own
giving out.
He wins who laughs last. Ha ! Ha !
Iago {as above) . Ah ! ah !
Othello. Villain ! He triumphs ! Laughing,
he smites my bosom.
God give me patience now to bear all this
grief.
Cassio. I loath her kisses,
Scarce I can bear them.
Iago. I can't help laughing.
Cassio. Yea, love is fleeting.
Iago. Some other beauty has thee in thrall.
Say, have I thought thee.?
Cassio. Ha ! ha !
Othello. Villain ! He triumphs ! Laughing,
he smites my bosom.
God give me patience now to bear all this
grief.
Cassio. Yea, thou hast caught me !
I must confess it.
Hear me !
Iago {yery slowly) . Thou must speak gently,
hear thee.
Cassio {very slowly. Meanwhile Iago leads
him to a place more remote from Othello.)
{His words are not caught •)
Iago, Iago,
Where is my lodging,
( The words are not caught.)
Othello. incautiously approaching to hear
what they are saying) .
He now does tell him
The manner, the place, the hour . . .
Cassio. {continuing his tale ^ still very softly)*
Some unknown hand
• ... a
( The words are again unheard.)
• • . . .
Othello. Once more I cannot hear him . . .
Woe's me ! fain I would know ! Has't come
to this !
80
Cassio.
• •••••
Un vel trapunto . . . •
• •••••
{Come sopra.)
Jago. E strano ! e strano !
Otello.
(D* avvicinarmi Jago mi fa cenno.)
{Passo pas o con lenta cautela, Otello nascon^
dendo si dietro le colonney arriver i piii
tardi vicino ai due,)
Jago.
(SoUo voce)
Da ignota mano?
{Forle)
Baie!
Cassio. Da senno.
i^Jago gli fa cenno di parlar ancora sotto
voce, )
Quanto ml tarda
Saper chi sia. . . .
Jago.
{Guardando rapidamente dalla parte d*
Otello — fra s^)
(Otello spia)
(a Cassio ad alta voce,)
L' hai teco?
Cassio. {^strae dal giustacuore il foazzoletto
di Desdetnona.)
Guarda.
Jago. (Predendo il fazzoletto,)
Qual meraviglia !
{A patte,)
(Otello o! iglia.
Ei s* avvicina
Con mosse accorte.)
(A Cassio inchinandosi scherzosamente e pas-
sando le tnani dietro la schiena perche
Otello possa osservare ilfazzoletto,)
Bel cavalicre-nel vostro ostel.
Perdono gli angeli - Taureola e il vel.
Otello. (^Avvicinandosi assai al fazzoletto^
dietro le spalle di yago e nascosto dalla
prima colonna.)
(E quello ! e qiiello !
Ruina e Morte !)
Jago. (Origlia Otello.)
Cassio.
. • • •
A 'broidered napkin.
Iago. Most curious ! most curious !
Othello. Slyly he beckons nearer to approach
him.
{^Moving step by step and hiding behind the
columns.)
Iago {slowly) . Some unknown hand.
Nonsense ! (^Loud.)
Cassio. Nay, truly.
{Signalling to Cassio to speak more softly,)
I cannot fathom
Who there has placed it . . .
Iago. {Looking to where Othello stands^ —
to himself) .
Othello sees us.
{^To Cassio J aloud)
Where is it ?
Cassio
{drawing Desdemona's handkerchief from his
doublet).
Here 'tis.
Iago {taking the handkerchief) .
Wonder of wonders ! {Aside,)
Othello listens,
Still drawing nigher
With stealthy caution.
( To Cassio y laughingly y holding the handker^
chiej behind him so as to let Othello see it*
You gjiy young courtier, visiting angels
In your fair house forget their crown and
wings.
Othello
{looking at the handkerchief and standing
just behind Iago, hidden by the first col-
umn),
I know it, I know it !
Oh, monstrous, monstrous !
I Iago. Othello listens.
31
Othllo. {Nascosio dietra la colonna e guar-
dando ditraUoin trutto il fazzoletto nelle
mani di Cassto»)
(Tutto e spento ! Amore e diiol.
L'alma mia nessun piii smova.
Tradimento, la tua prova
Spaventosa mostri al Sol.)
Jago. {A Cassto indicando il fazzoletto J)
Qiiest' e una ragna
Dove 51 tuo cuor
Casca, si lagna,
S' impiglia e muor.
Troppo rammiri,
Tropo la guardi,
Bada ai deliri
Vani e bugiardi.
Quest' e una ragna
Dove il tuo cuor
Casca, si lagna,
S' impiglia e muor.
Cassio. {guardando il fazzoletto che avrd
ritolto a jago),
Miracolo vago
Deir apso e dell* ago
Che in raggi tramuta
Le fila d' un vel ;
Piu bianco, piii lieve
Che fiocco di neve,
Che nube tessuta
Dair aure del ciel.
{^Squillo di tromha interno^poi un colpo di can-
none.)
{^Otello sard ritornato nel vano del verone.)
Jago.
Quest' e il segnale che annuncio 1' approdo
Delia trireme veneziana. Ascolta.
{Squilli da varie parti.)
Tutto il castel co' suoi squilli risponde.
Se qui non vuoi con Otel lo scontrarti
Fuggi.
Cassio. Addio.
Jago. Va.
( Cassio esce velocement dalfondo.)
Othello
{hidden behind the column and looking at the
handkerchief in Cassids hands).
All is vanished, both love and grief,
Nothing more my heart can move.
Latest treason hatched in night,
Now lies open to the light.
IagO {to Cassio). {Pointing to the handker
chief.)
This is a slider's web
Where thy poor heart
Is caught and languishes,
Never to part
While thou art feeling
Raptures Unceasing.
Firmly she holds thee,
Never releasing.
This is a spider's web
Where thy poor heart
Is caught and languishes
Never to part.
Cassio
{looking at the handkerchief which he has
tciken back from lago).
This is a wonder wrought
By thread and thimble
Into a ray of light.
The fabric is changed,
Nosno^£ad j4ft is whiter, — >.
^^NtTgossamer lighter.
It is like a cloudlet
That floats in the sky.
f{Trumpets from behind, then a cannon- shot,)
{Othello has again retired to the terrace.)
This is the signal announcinjg^-^at
\
\
lago.
galley
Lor. Noj
{Trumpets from another side.)
With all its trumpets the castle gives answer ;
If here you would not Othello encounter,
Hasten.
Cassio. Farewell, then.
Iago. Go !
{Exit Cassio quickly at back.)
SCENA VI.
Jago. Otello.
Otello. {awicinandosia J^ago.)
Come la uccidero ?
Jago. Vedeste ben com* egli ha riso?
Otello. Vidi.
{Z>i tanto in tanto salve di gioia
squilli che ei svvicinano. )
SCENE VL
Iago, Othello.
Othello {going up to Iago). How shall I
murder him?
Iago. Did you perceive him gaily laughing.?
Othello. I saw him.
{From time to time shouts of joy and trumpets
approaching, )
32
Jago. E il fazzoletto ?
Otkllo. Tutto vidi.
Voci. {dal de/ouriy lontane^
Evviva !
Voci. Allariva!
Voci. Alio sbarco !
Otello. E condannata.
Fa ch' io in' abbia un velen per questa notte.
Voci. {ptuvictnt),
Evviva ! Evviva il Leon di San Marco !
Jago. II tosco no, val meglio soffocarla,
La, nel suo letto, la, dove ha peccato.
Otbllo. Questa giustizia tua mi place.
Jago. A Cassio
Jago prowedera.
Otello. Jago, fin d' era
Mio Capitano t* eleggo.
Jago. Mio Duce,
Grazie vi rendo.
.(// tumulto k sempre piii vicino, Fanfave e
grida,)
Ecco gli Ambasciatori.
Li accogliete. Ma ad evitar sospetti
Desdemona si mostri a quel Messeri.
Otello. Si, qui T adduci.
(Jago esce dalla porta di sinistra: Otello s'
avvia verso il fondo per ncevere gli
Ambasciatori.)
SCENA VII.
C)tello, Lodovico, Roderigo, L'Araldo. —
Dignitari delta Repuhblica Veneta — Gen-
tiluomini e Dame — Soldati — Trombet-
tieri^ dal fondo — foi jago con Desdemo-
na ed Emilia, dalla sinistra,
Lodovico
(^tenendo una pergamena),
II Doge ed il Senato
Salutano V eroe trionfatore
Di Cipro. Io reco nelle vostre man!
II messagio dogale.
Otello
i^prendendo il messagio e baciando il suggello) ,
Io bacio il segno
Delia Sovrana Maesta.
(Lo spiega e legge!)
Iago. The napkin saw you ?
Othello. Well, I saw it.
Voices {Jrom afar) . Be welcome 1
Voices. To the shoreward !
Voices. Pull togetlier !
Othello. Her fate is settled.
This same night she must die, get me some
poison !
Voices {nearer). Thrice hail to the Lion of
San Marco !
Iago. With poison, no ! nmch better *tis to
strangle her I
There, in her bed, yea, the bed slie has
defiled.
Othello. Good ! good ! the justice of it
pleases I
Iago. For Cassio
I will myself provide.
Othello. Thou from this hour, Iago,
Shalt be my lieutenant.
Iago. My Gen'ral !
Thanks I do proffer.
(The din draws nearer,)
There's some one come from Venice. Go,
Receive him.
And to avoid suspicion, let Desdemona
with yourself be present.
Othello. Yea, go to call her.
Exit Iago right. Othello goes toward back
to receive the ambassadors.
SCENE VII.
Othello, Lodovico, Roderigo, the Her-
ald, Dignitaries of the Venetian Re-
public, Gentlemen and Ladies, Sol-
diers AND Trumpeters, then Iago, with
Desdeaonia and Bmilio.
Lodovico {holding a roll of parchment in his
hand..
The Duke and the Senate of Venice send
their greeting to the hero of Cyprus.
To your own hands I here deliver theii
most gracious message.
Othello {taking the letter and kissing the
seal) .
I kiss the symbol
Of their most sovereign majesty.
(Opens the letter and reads,)
33
LODOVICO
{avvicinandasi a Desdeniona).
Madonna,
V abbia il cielo in sua guardia
Dbsdemona. E il ciel v' ascolti.
Emilia (a Desdemona^ a parte).
Come sei inesta.
Dbsdemona
{ad Emilia^ a parte).
Emilia ! una gran nube
Turba il senno d' Otello e il mio destino.
Jago
{andando da Lodovico).
Messer, son lieto di vedervi.
{^Lodovico^ Desdemona e Jago formano croc-
chio insieme,)
Lodovico. Jago,
Quali nouve ? • . . ma in mezzo a voi
non trovo
Cassio.
Jago. Con lui crucciuto e Otello.
Desdemona. Credo
Che in grazia tornera.
Otello.
(a Desdemona e sempre in atto di leggere).
Ne siete certa?
Desdemona. Che dite ?
Lodovico. Ei legge, non vi parla.
Jago. Forse
Che in grazia tornera.
Desdemona. Jago, io spero ;
Sal se un verace afl'etto io porti a Cassio . • .
Otello
{sempre in atto di leggere e febbrilmente a
Desdemona sottovoce).
Frenate dunque le labbra loquaci . • •
Desdemona. Perdonate, signor . . .
Otello
{avventandosi contro Desdemona)
Demonio taci ! !
Lodovico
{arrestando il gesto d' Otello),
Ferma !
TuTTi. Orrore !
Lodovico. La mente mia non osa
Pensar ch'io vidi il vero.
Lodovico. My lady, may the angels
Protect you !
Desdemona. May heaven hear you I
Emilia {to Desdemona aside).
Why all this sadness?
Desdemona.
{To Emilia y aside,)
Emilia ! A heavy cloud
Hangs o'er the mind of Othello, and o'er
my future.
Iago.
{To Lodovico,)
Most welcome ! I'm glad to see you.
{Lodovico^ Desdemona^ and Iago form a
group.)
Lodovico. Thank you,
Good Iago. What news? How does Lieu-
tenant Cassio?
Iago. Annoyed with him 's Othello.
Desdemona. But soon
He will regain his grace.
Othelo.
{Continuing to read rapidly to Desdemona,)
Art thou so certain?
Desdemona. What say you ?
Lodovico. He's reading, did not listen.
Iago. Perhaps
He will regain his grace.
Desdemona. Firmly I hope so.
I would do much for the love I bear to
Cassio.
Othello.
{Always pretending to read excitedly to Desde*
monay and in a whisper.)
Pray, keep that chattering tongue now from
wagging.
Desdemona. Pray, forgive me, my lord !
Othello.
(About to strike Desdemona.)
Be silent, devil !
Lodovico.
(Holding back Othello,)
Spare her !
All. Oh, horror !
Lodovico. My mind cannot believe
Such a deed, although I saw it.
34
\
Otelj-o.
{repentinamente alF Araldo e con accento im-
perioso).
A me Cassio !
(Z' Aralde esce,)
Jago.
(passando rapido accanto ad Otelloy e a bassa
voce),
(Che tend ?)
Otello.
{a Jago a bassa voce).
(Guardala mentr* ei giunge.)
LoDOVico. Ah ! triste sposa !
{A bassa voce avvicinandosi a Jago ctu si
sard un po' allontanato da Otello.)
Quest* e dunque V eroe? quest* e il guer-
riero
Dai sublimi ardimenti?
Jago.
{a Lodovico alsando le spalle).
E quel che'gli e.
Lodovico. Palesa il tuo pensiero.
Jago. Meglio e tener su ci6 la lingua muta.
Otheuxx
( To the Herald in a commanding voice,}
Bring here Cassio !
{Exit Herald.)
Iago. {Running to Othello^ softly.)
And wherefore?
Othello. ( To Iago softly.)
Watch her when first he enters.
Lodovico. Unhappy lady !
{Softly^ aside to Iago.)
Is he the noble Moor whom our full state
Call all in all sufficient?
Iago. ( To Lodovico ^ shrugging his shoulders. )
He's that he is.
Lodovico. What think you ? Let me know it.
Iago. Pray pardon me, I dare not breathe mjf
censure.
SCENA \1IL
Cassio seguito dalT Araldo, e detti.
Otello.
{che avra sempre fissato la porta).
(Eccolo ! E lui I N
{Avvicinandosia Jago tnentre Cassio i sulla
soglia,)
Neir animo lo scruta.)
Otello.
{ad alta voce a tutti.)
Messert ! II Doge . . .
{Ruvidamente ma sottovoce a Desdemona.)
— ben tu fingi il pianto)
{A tutti ad alta voce).
Mi richiama a Venezia.
R.ODERIGO. (Infida sorte !)
Dtello.
{continuando ad alta voce e dominandosi) .
E in Cipro elegge
Mio successor colui che stava accanto
Al mio vessilloy Cassio.
SCENE vni.
Cassio followed by the Herald and same.
Othello. ( Who has been intently looking
toward the door.)
See ! he comes !
{Approaching Iago.)
With all thy senses watch her !
Othello. {Aloud to all.)
Good Sirs! The Duke here —
(Roughly but slwoly to Desdemona.)
Oh well painted passion
{Aloud to all,)
Has recalled me to Venice.
Roderigo. Then all is over !
Othello. ( Continuing and aloud.)
In Cyprus chosen
Is in my place e'en he, who for for theai
years
Was my lieutenant, Cassio.
35
Jago.
(fieramente e soppresc).
(Inferno e morte !)
Otbllo.
{canHnuando come sopra e mostrando la per-
gatnena,)
La parola Ducale ^ nostra legge.
Cassio.
{inchinandosi ad Oiello).
Obbedirb.
Otbllo.
(rapidamente a Jago in segreto ed indicando
Cassio),
- (Vedi? non par che esulti
L'infame.
Jago. No.)
Otello.
(^ad alto voce a iutti).
La ciurna e la coorte
(^A Desdetnona sottovoce e rapidissimo, )
(Continua i tuoi singulti . • • )
iAd alto voce a tntti, senza pih guardar
Cassio.)
£ le navi e il castello
Lascio in poter del nuovo Duce.
LODOVICO.
(a Otelloy additando Desdetnona che s*avvicina
stipplichevolmente) .
Ote
"er pieta laconforta o il-cor le infrangi.
OTELLO. ^N^
{a Lodovico e DesdemonltS,
Noi salperem domani. \
(^Affera Desdetnona furiosan^nte) .
A, terra I . . . e piangi ! . v-""""^^
(Desde^OK^Lcadey EjniHd e Lodovico la rac
colgonoetdsollevano pietosametite . )
Desdemona.
A terra ! . . . si . . . nel livido
Fango . . . percossa . . . io giacto . . .
Piango . . . m'agghiaccia il brivido
Deir anima che muor.
£ un di sul mio sorriso
Fioria la spenje e it bacio
£d or . . . Tangoscia in viso
£ r agonia nel cor.
Quel Sol sereno e vivido
Che allieta il cielo e il mare
Non pu6 asciugar le amare
Stille del mio dolor.
Jago. {Aside^ surprised and/uriousJ)
Death and perdition !
Othello. ( Continuing as above andpointittg
to the parchment* )
I obey, Sirs, the mandate of the Senate.
Cassio. {Bowing to Othello.)
I too obey.
Othello. {To lago in a rapid whisper^
pointing to Cassio,)
See'st thou ? The villain seems
Not to like it.
Iago. No.
Othello. {Again in a loud voice to all.)
The city and the army.
{Aside to Desdemona, atidin a rapid whisper. )
Pray do not stop your w beeping . . .
(/« a loud voice to ally without looking at
Cassio,)
And the ships and the fortress
I leave in charge of my successor.
Lodovico. ( To Othello^ pointing to Desde^
mona^ who comes near in an imploring
attitude,)
Othello.
Speak to her, comfort her. Her heart is
breaking !
Othello. ( To Lodovico and Desdemona,)
Well, we shall sail to-morrow.
( Takes hold of Desdemotia furiously* )
To earth, on thy knees !
Desdemona falls. Emilia atid Lodovico lift hef
up, trying to comfort her.
Desdemona. Yea, prostrate here
I lie in the dust.
With anguish my heart is beating
I feel the icy breath of ill that augurs death.
The light upon his brow.
His smile, his tender greeting,
His kiss, where are they now?
Weep, for aye I must.
The sun, who from his cloudless sky
Illumes the earth with splendor,
No comfort can he tender.
My tears he cannot dry.
86
Emilia, (Quella innocente un fremito
D'odio non ha n^ un gesto,
Trattiene in petto il gemito
Con doloro50 fren.
La lagrima si frange
Muta sul volta mesto :
No, chi per lei non piange
Non ha pietade in sen.)
RoDERiGO. (Per me s*oscura 11 mondo,
S'annuvola il destin ;
L*angiol soave e biondo
Scompar dal mio cammin.)
Cassio. (L'ora e fatal ! un fulmine
Sul mio cammin I'addita
Gia dimia sorte il culmine
S*offre air inerte man.
L'ebbra fortuna incalza
La fuga della vita.
Questa che al cjel m' innalza
E un'onda d'uragan.)
LuDovico. (Egli la man funerea
Scuote anelando d'ira,
Essa la faccia eterea
Volge piangendo al ciel.
Nel contemplar quel pianto
La carita sospira,
E un -tenero compianto
Stempra del core il gel.)
II CoRO. {A gruppi dialogando,)
Dame. Pieta !
Cavalieri. Mistero !
Dame. Ansia mortale, bieca,
Ne ingombra, anime assorte in lungo orror.
•
Cavalieri. QuelPuomo nero h sepolcrale, e
cieca
Un'ombra, ^ in lui di morte e di terror.
Dame. Vista crudel !
Cavalieri. Strazia coll'ugna Torrido
Petto ! Figgo gli sguardi immoti al suol.
Poi sfida il ciel coir atre pugna, V ispido
Aspetto ergendo ai dardi alti del Sol.
Dame. Ej la colpi ! quel viso santo, pallido,
Blando, si china e tace e piange e muor.
Piangon cosi nel ciel lor pianto gli angeli
Quando perduto giace il peccator.
Emilia.
Her innocence is silent all,
No rancor bears her constant heart.
Deep in her bosom dies the sigh.
Wrung from her by her grief.
The bitter tear-drops, as they fall^
Can never bring relief.
Oh, weep for her who meekly
Thus her misfortune bears !
RODBRIOO.
(Now all the world is darkened,
AH sunless is the day !
She whom my heart did worship
Has vanished from my way.)
Cassio.
Fatal the hour ! a lightning*s flash
Shows me the threatening danger.
Honor and riches crowd on me,
Their brightness brings no joy.
Yea, jealous fortune's anger
Too soon will overtake me.
And from this dream awake me
As with the thunder's crash.
LODOVICO.
His hand is raised against her,
Wrath ev'ry word is breathing.
She with a gentle meekness
Looks for relief above.
Gazing upon her sadness
Moved is my heart with pity ;
Ah ! could my help avail her
Soon to regain his love.
Chorus. {Talking' in groups,)
Alas !
Knights. A secret.
Ladies. Some mortal anguish
Dark and uncertain with tlioughts of evil
shrouds his mind.
Knights. Black is his visage, black is his
soul,
His eyes are lighted with a presage of some
ill.
Ladies. A cruel sight !
Knights. With clenched hands, wildly
He beats his bosom ! His eyes are fixed
upon the ground.
Now he looks up as if defying
With threatening glance the mighty powers
that are above.
Ladies. Her face he struck ! that face so pale,
Like unto an angel's. She stands in silence.
And weeping there. 'Tis thus that
Angels weep when from high heav'n ak)OV«
They see a sinner writhing in despair.
87
JjlGot {awicinandosi a Otella che resierh ac'
casciatosu dTun sedile).
(Una parola.)
Otelix). E che?
J AGO. T'affretta ! Rapido
Slancia la tua vendetta ! II tempo vola.
Otello. Ben parli.
Jago-
£ rira inutil ciancta. Scuotiti !
AlFopra er^i tua mira ! AlFopra sola I
lo penso a Cassio. £i le sue trame espia,
U infame anima ria ravemo ingbiotte !
Otello. Chi gliela svelle?
Jago. Io.
Otello. Tu ?
Jago. Giurai.
Otello. Talsia.
Jago. Tu avrai le sue novelle in questa
notte. • • • )
{Abbandonu Otello e si dirige verso Roderigo.)
Jago. (ironicamente a Roderigo.)
(I sog^i tuoi saranno in mar domani
E tu suU'aspra terra I
Roderigo. Ahi triste !
Jago. Ahi stolto !
Stolto I Se vuoi tu puoi sperar ; gli umani,
Orsu ! cimenti afTerra, e m'odi.
Roderigo. Ascolto.
Jago. Col primo albor salpa il vascello. Or
Cassio
E il Duce. Eppur se awien che a questa
accada
{toccando la spadd)
Sventura • . . allor qui resta Otello.
RoDERiGol Lugubre
Luce d'atro balen I
Jago. Mano alia spada !
A notte folta io la sua traccia vigilo,
E il varco e Tora scruto, il resto a te.
Sar6 tua scolta. A caccia I a caccia I Cingiti
L'arco !
Roderigo. Si I t'ho venduto onore eft.)
Jago. (Corri al miraggio I il fragile tuo senno
Ha gia confuso un sogno menzogner.
Segui I'astuto ed agile mio cenno,
Amante illuso, io seguo il mio pensier.)
Roderigo. (II dado e tratto I Impavido fattendo
Iago {approaching Othello^ who remains
seated).
Let me advise you.
Othello. What in?
Strike quickly.
Iago. Do not tarry in your revenge, for time
flies swiftly.
Othello. Well spoken.
Iago. Your wrath is like to slacken, let it not !
To work without delaying, and without
P>ty.
I will see to Cassio. I know where to find
him.
His soul with deeper dye shall tinge
Avemus.
Othello. Who will despatch him?
Iago. I.
Othello. Thou ?
Iago. Have sworn.
Othello. So be it.
Iago. You shall have certain news this very
evening.
(^Leaves Othello and goes toward Roderigo,)
Iago. (^Ironically to Roderigo J)
Your true love will be on Uie sea to-mor-
row,
And you'll be left on dry land.
Roderigo. Too certain I
Iago. Ah, coward !
Coward I For brave men there is hope ;
Bestir thee then, use every effort and hear
me.
Roderigo. I hear thee.
Iago. At break of day will sail the vessel.
Then Cassio's genVal. If, meanwhile, he
should meet
{laying his hand on his sword)
With some misfortune, then here remains
Othello.
Roderigo. What baneful
plan dost now thy imply?
Iago. Unsheath thy weapon !
From early fall of night his traces I will
watch,
I'll tell thee place and movement, then thou
must act.
I will be near thee. The hunt's up, my
noble huntsman.
Roderigo. Yea, I am thine, I must obey.
Iago. Idle the visions, empty as air you follow,
Such is the path my will for you has
wrought
Go then, and do the deed, e'en as I bid you.
Ah I deluded swain, you act what I have
thought.
Roderigo. The die is cast, where'er you ^ead
my unknown destiny.
38
Ultima sorte, occulto mio destin.
Mi sprona amor, ma un avido, tremendo
Astro di morte infesta il mio cammin.)
Otello. {^Ergendosi e rivolto allafolla^ terri^
btlmente,)
Fuggite I
TuTTi. Ciel?
Otello. {^Slancciandosi contro lafoUa*)
Tutti fuggite Otello !
{fanfara interna^
Jago. {^Aglis astant.)
Lo assale una malia
Che d'ogni senso il priva.
Otello. ( Con forza . )
Chi non si scosta e contro me rubello.
LoDOVico. {^Fa per trascinare lontano Desde^
mona.)
Mi segui. • • •
Voci. {^Dal di fuori.)
Ewiva !
Desdemona. {^Sciogliendosi da Lodovico e ac-
correndo verso OteUo,)
Mio sposo !
Otello. (a Desdemona,)
Anima mia
Ti maledico \
TuTTL {JSscono inorriditt,)
Orrorl • • •
{Desdemona^ fra Emilia e Lodovico esce,)
SCENA IX.
Otello e Jago soli.
Otello. {Sempre pii^ affannoso.)
Fuggirmi io sol non sol • • • Sang^el
Ah I Fabbietto
Pentiero 1 • • • cid m* accora !
(^Convulsivamenle, delirando.)
Vederli insieme awinti • . 11 fazzoletto I • •
Ahl . • .
(^Sviene,)
Jago. (B mio velen lavora.)
Fanfare b Vocl {J}aldi fuoru)
Viva OteUo I
Love is my guide, a deep resistless longingt
Be it to death, I still must follow thee.
Othello. (Rising^and turning to the crowds
with terrible expression,)
Avaunt ye !
All. Heav*n !
Othello {rushing towards the crowd)*
All fly before Othello I
Iago {to all) . He's taken with a sickness
Which of all sense deprives him.
Othello {forcibly).
He is a rebel who any longer tarries.
Lodovico {trying to draw Desdemona away)*
Come with me !
Voices {Jrom behind), Vittorial
Desdemona.
{Freeing herself from Lodovico and rushing
towards Othello,)
My husband !
Othello {to Desdemona). Wife of my bosom I
My curses on thee.
All.
{Exeunt horrified,)
Great heav'n !
{Desdemona is led away by Emilia and
Lodovico^
SCENE IX.
Othello, Iago, (o/^mm)*
Othello.
{Mare and mare excited^
Alone I cannot fly I Blood I Ah I too mon-
strous
To think of I That I like not
{In convulsions^
To see them clasp each other I
kerchief I Ah !
{He swoons.)
That hand-
Iago. He changes with my poison. "
VioCBS {from behind). Hail, OtheUoI
99
fMBO {ascoitando h grida^ poi osser
Otello disteso a terra tramortito)*
U eco della vittoria
Porge sua laude estrema.
{Dopo una pausa,)
Chi pu6 vietar che qi^sta fronte io prema
Col mio tallone ?
Fanfarb e Voci {esterne piu vtcine),
Ewiva Otello ! Gloria
Al Leon di Venecia I
J AGO (ritto e con gesto cTorrendo trionjh^ in'
dicando il corpo inerte ct Otello).
Ecco U Leone I • • •
Iago {listening to the shouting and looking,
at Othello who lies stretched out before
him).
Echo's loud with his glory,
Praising his valor loudly.
{After a pause.)
Who can prevent me there to plant my
boot heel
Upon his forehead ?
Voices {behind^ coming nearer) .
Vittoria ! Hail, hail, Othello I
Hail to the lion of Venice.
Iago {standing erect and pointing with hor-
ribletriumph to the motionless body o)
Othello).
S«« here the lion I
40
ATTO QUARTO.
La Camera di Desdemona.
LettOt inginocchiatoio, tavoloy specchio^ sedie.
Una lampada arde appesa davanti alV
immagine delta Madonna che sta al dt
sopra deir inginocchiatoio. Porta a
destra. E, notte, Un tume acceso sul
tavoto.
ACT FOURTH.
The Bedroom op Desdsmona
A bed, prie-DieUf tabte, looking-gtass^ chairs.
A burning lamp is suspended in front of
the image of the Madonna^ which is
above the prie-Di^u. Door to left, A
lighted candle on the table. It is night.
scena prima.
* Desdemona, Emilia.
Emilia. Era piu calmo?
Desdbmona. Mi parea. M' ingiunse
Di coricanni e d' attenderlo. Emilia,
Te ne prego, distendi sul mio letto
La mia Candida veste nuziale.
M' odi. Se pria di te morir doves^i
Mi seppellisci con un di quei veli.
Emilia. Scacciate queste idee.
Desdbmona.
{Sedendo macchinalmente davanti alio
specchio,)
Son mesta tanto.
Mia madre aveva una povera ancella
Innamorata e bella ;
Era il suo nome
Barbara, Amava
Un nom che poi Tabbandon^, cantava
Una canzone : la canzon del Salice*
{A Emilia.)
— Mi disciogli le chiome —
lo questa sera ho la memoria plena
Di quella cantilena :
^^ Piangea cantando
Neir erma landa,
Piangea la mesta.
O Salce ! Sake ! Salce I
Sedea chinando
Sul sen la testa !
O Salce I Salce ! Salce !
Cantiamo ! il Salce funebre
Sara la mia ghirlanda.'*
SCENE I.
Desdemona, Emilia.
Emilia. He looked more gentle?
Desdemona. So it seemed. He bade me
Soon to wait him and go to t>ed. Emilia,
Let me ask you, before you go, lay on vny
bed
The same sheets that were there on my
wedding-night.
Listen. If haply I should die before thee,
Let me be shrouded in one of those sheets.
Emilia. Come, come, you talk of fancies.
Desdemona.
{Sitting down mechanically before the looking-'
glass.)
I am sad to-night and weary.
My mother, long, long ago, had a maiden,
As fair as she was faithful,
And her name was
Barbara. She was in love,
And he she loved proved mad, and lastly
Did forsake her. She had a song of ^^ wil-
low."
(To Emilia.)
Loose my hair, prythee —
That song this evening it will not leave me,
Like that poor maid I e'en must sing it.
The poor soul sat pining
Alone and lonely.
There on the lonely strand,
Sing willow, willow, willow.
Upon her bosom
Her head inclining —
Willow, willow, willow.
Sing heigho, sing all a green, green,
Willow shall be my garland.'*
44
41
— Affrettati 5 fia poco giunge Otello. —
** Scorreano i rivi fra le zolle in fior,
Gemea quel core aftranto,
B dalle ciglia le sgorgava il cor
U amara onda del pianto.
O Salce ! Salce ! Salce !
Cantiam la nenia blanda.
Cantiamo I il Salce funebre
Sara la mia ghirianda."
** Scendean gli angelH a vol dai rami cupi
Verso quel dolce canto.
E gli occhi suoi piangevan tanto, tanto,
Da impietosir le rupi."
(tf Emilia levandosi un anello dai dito, )
— Riponi questo anello —
Povera Barbara 1 — Solea la storia
Con questo semplice — suono finir :
**Egli era nato — per la sua gloria^
lo per amarlo "
{Interrompendo.)
— Ascolta. Odo un lamento.
{^Emilia fa qualche passo.)
Taci. Chi batte a quella porta? . • •
Emilia. E il vento.
Desdemona.
** lo per amarlo e per morirJ*
Emilia, addio. Come m' ardon le ciglia !
£ presagio di pianto.
(abbraccia Emilia che esce.)
Buona notte.
SCENA II.
Dbsdemona, sola^
{ya air inginocchiatoio.)
Ave Maria piena di grazia, eletta
Fra le spose e le vigini sei tu,
Sia benedetto il frutto, o benedetta,
Di tue materne viscere, Gesu.
Prega per chi adorando a te si prostra,
Prega pel peccator, per Tinnocente
Prythee despatch, anon will come Othello.
*•*' The fresh stream ran by her, where the
rushes grow,
And murmured all her moaning,
' And from her eyes the soft tears they did
flow
Which in her heart were arising
Willow, willow, willow !
Sing heigho ! sing all a green, green
Willow shall be my garland."
^* Down from the branches all the birds
came flying.
Listening to her sweet sighing.
So full of sorrow was her tender ditty,
' The stones were moved to pity*"
( To Emilia^ taking a ring from her finger.)
Lay by this ring and guard it —
Alas, poor Barbara ! I think her story
Simply and sadly thus used to be,
" For he was destined to live in glory,
And I to love."
{Interrupting. )
Do barken. Was that a sigh ?
{^Emilia goes toward the window.)
Listen. Who is't that knocks at this hour?
Emilia. The wind.
Dbsdbmona. *' And I to love him and to die.**
Good-night, Emilia. How my eyes itch
this evening.
Doest thou think that bodes weeping?
{^Embraces Emilia^ who departs.)
Good-night.
SCENE II.
Desdemona, alone*
(^Kneeling before the image of the Madonna.)
Hail, to thee, Mary, full of grace, the Lord
Is with thee, blessed are thou amongst
women,
And blessed is the fruit, O tliou most
blessed !
The fruit of thy womb, Jesus.
Ah, pray for her who lies in pray'r before
thee.
Pray for the sinner, and for the sinless,
42
£ pel debole oppresso e pel possente
Misero anch'esso, tu pieta dimostra
Prega per chi sotto Toltraggio piega
La fronte e sotto la malvagia sorte ;
Per noi tu prega
Sempre e nell' ora della morte nostra.
{^Resta ancora inginocchiata ed appoggia la
fronte sulC inginocchiatoio come chi ripeta
nuntalmente una orazione, Non s'odono
che le prime e le ultime parole della
pregheiru.)
Give thv aid to the oppressed and to tho
mignty.
He, too, will need it. Pray for all who im*
plore thee.
Pray thou for her who is sadly sighing,
As all the early hopes of bliss betray her.
Oh grant, oh grant thy prayer.
Pray for us now and in the hour of dying.
{^Ske remains kneeling^ resting her head on the
prie-Dieu and repeating her prayer, only
the first and last words of which are
audible.)
wUovoce*
l &LtUL J > J'^i_p4^^ ^ ^ ^ J J J ^P
A - ve Ma - ria pie - na di gra - zia,
Beom^ng^ so hright, ev '"^ry star skiu - eth.
e • let
Be • KAi/ft
ta
the
fra le
dome of
spo - see le ver • gi - ni sei tu, sia be - ne • det - to il f rut - to, o be - ne
heaven lies the wea • ry world a - sleep. To pray* reach pi • ous watch ^er com - eth in
caniabiU dolce.
det - ta, di tue ma - ter - ne vi - see - re, Ge - su. Pre - ^a per cbi a • do -
si' lencCf com ' mum 'ing with the source of light, the Lord! Thou mtgh - ty King and
dolee.
Hcult thou source of
and com
fort here ;
marcato.
mi - se - ro
Thou art the
^iCztgiA^ ^^^
3n=s
I3^fc=
anch^esso, tua pie - ta di - mo .- - stra.
giv ' er! from th y hand rich bless ^ ings fall,
aniviando . -
Pre • ga per chi sot -to I'd
Vouch • safe thy ten - der
^^^ \
trag - gjo pie - ga la
bless - ing now un - to
dolcissimo.
^
i ^j-^^j^^?^
fron - tee
us. And
sot - to la
be with us
mal - va
- gia
in ev - ^ry
sor - to;
tri - al;
noi per noi tu pre - ga, pre • ga sem - pre e
us not a - lone^ we pray; Be thou near us^ he
nel - To - ra del • la -
theu near us, Fa^the^m
43
nuxTcoiOm
mor • te no • stra,
he tkau ntar us/
pre - ga per noi, pre - ga
GiV' er of life^ Grv -rr
A-ve Maria,
Bi thou neoTf
neir o - ra del • la mor - te.
A'tidewiih us for^ev • tr*
per noi, pre • ga.
of light and lifet
dolctss.
A
A
vcl
men!
A -men I
A-mtnt
SCENA III.
Desdbmona, Otbllo.
{Otello entra da una po^a segreta^ depone una
scimitarra sul tavoloy s'arresta davanti
alia face^ titubante se spegnerla o no,
Guarda Desdemona. Spegne la face.
La scena resta rischiarata dal solo liime
dell* inginocchiatoio. Otelloy spinto da
un impeto di furore^ s^avvicina al letto;
ma Id s*arresta, Contempla lungatnente
Desdemona che dorme. La bacia ire
volte. Air ultimo bacio Desdemona si
desta.)
Desdemona. • . • Chi ^la? . • .
Otello?^
Otbllo. Si. Diceste questa sera*
Le vostre preci ?
Dbsdemona. Orai.
Otbllo. Se vi sovviene
Di qualche colpa commessa che attenda
Grazia dal ciel, imploratela tosto.
Desdemona. Perchfe ?
Otello.
T' affretta. Uccidere non voglio
L' anima tua.
Desdemona. D' uccider parli?
Otello. Si.
Desdemona. Pieta di me, mio Dio.
Otello. Amen,
Desdemona. £ abbiate.
Pieta voi pure.
Otello. Pensa ai tuoi peccati.
Desdemona. Mio peccato e V amor.
Otello. Percio tu muori.
Desdemona. E perche t* amo m' uccidi? • . •
Otello. Ami Cassio.
Desdemona. No I suir anima mia !
SCENE IIL
desdemona, OTHELLO.
( Othello enters by a secret door. He lays a
scimitar on the tabUy and stands before
the candUy doubtful whether to blow it
out or not. Looks at Desdemona and ^x-
tinguishes the candle, Othello^ with a
gesture of fury^ goes towards the hedy but
he stopSy looks for a long time on the
sleeping Desdemona, He kisses her three
times. At the last kiss she awakes.)
Desdemona. Who's there?
Othello.?
Othello.
Ay ! Say, have you prayed to-night?
Tell me, Desdemona.
Desdemona. I prayed.
Othello. If you bethink yourself
Of any crime unforgiven as yet,
by heav'n and by grace, then solicit straight
for it.
Desdemona. My lord ?
Othello. Well, do it ! For heav'n forfend,
I would not kill your soul.
I Desdemona. You tJilk of killing ?
I Othello. Aye !
Desdemona. Then Lord have mercy on me.
Othello. Amen.
Desdemona. Ah, then
You too have mercy.
Othello. Think upon your sins.
Desdemona. They are loves borne to you.
Othello. For that thou diest.
Desdemona. Because I love you, you kill meP
Othello. You love Cassio.
Desdemona. No ! I swear by n^v soul I
44
Otbllo. Quel fozzoletto
Ch'io ti donai gli desti.
Desdsmona. Non e vero !
Otbixo. Nella sua man lo vidi.
Desdsmona. Io rea non sono I
Otello. Confessa !
Desdemona. Giuro !
Otello. Bada alio sperigiuro. • • •
Pensa che sei sul tuo letto di morte.
Desdsmona. Non per morir.
Otello. Per morir tosto.
Desdsmona. Aita I
Cassio non amo. . . ch' ei qui venga. . . ei
parli.
Otello. Muto h per sempre.
Desdsmona. Cielo! Morto?
Otello. Morto.
Desdemona. Son perduta I • . • ei tradito !
Otello. E pianger Tosi ?
Desdemona. Otello • . . non uccidermi. . .
Otello. Tu invano
Ti difendi.
Desdemona. Ch' io viva ancor. • • •
Otello. Giu ! cadi,
Prostituta !
Desdsmona. Pieta I
Otello. Muori I
Desdemona. Ch* io viva
Questa notte. • • •
Otello. No.
Desdemona. Un"* ora. • • •
Otello. No.
Desdemona. Un istante.
Otello. No.
Desdemona* Sol ch' io dica un' Ave.
Otello. E tardi ! E tardi !
{la soffoca, Un grido di Desdemona)
(s' ode bussare alia porta,)
Otello.
{contemplando il corpo inerte di Desdemona,)
Calma come la tomba.
Emilia (dal di fuori.)
Apritel Aprite I
Otello {trabalzando)*
Chife la!— Chi battel
Emilia {comesopra).
Signor mio . . . ven prego,
Lasciate ch'io vi parli . . .Aprite I
Otello (aprendo), Emilia,
Che avvenne?
Emilia {enlrando),
Un gran delitto ! Cassio uccise
Roderigo.
Otello. E Cassio?
Othello. -.'That handkerchief
I gave you, you gave to Cassio.
Desdemona. 'Tis a falsehood.
Othello. In his own hands I saw it.
Desdemona. And yet I'm guiltless.
Othello. Confess thee !
Desdemona. Guiltless.
Othello. Pray, take heed of perjury. • •
Think thou art lying upon thy death-bed.
Desdemona. But not to die.
Othello. Yes, presently.
Desdemona. Lord help me I
Cassio I love not I Call him hither . . and
ask him.
Othello. He's mute for ever.
Desdemona. Heav'n, dead?
Othello. Dead. .
Desdemona. He betrayed ... I undone I
Othello. Dost weep, thou strumpet?
DssDEMONA. Oh, banish, me • . . but kill
me not.
Othello. Nay, nothing
Now will save thee.
Desdemona. Oh spare me ! Oh let me live.
Othello. Ha ! Down with thee,
Thou strumpet !
Desdemona. Have pity.
Othello. No.
Desdemona. Let me but live
To-night —
Othello. No.
Desdemona. An hour?
Othello. No.
Desdemona. But one moment?
Othello. No.
Desdemona. While I say my prayer?
Othello. Too late !
{He slices her, Desdemona shrieks J)
{Knocking- at the door.)
Othello, {looking at the motionless form of
Desdemona.)
Calm, calm as the grave.
Emilia {outside) . Within there, ho, open I
Othello {faltering).
Who's there? Who knocks there?
Emilia {another knock) .
Good, my lord, do hear me. I would but
speak a word. Do open.
Othello {opening the door),
Emilia! What is it?
Emilia {entering).
It is foul murder ! Cassio's killed Roderigo.
Othello. And Cassio?
45
Emilia. Vive.
OTEI.LO. Cassiovivc^!
Dbsdemona (dal letto).
Ing^ustamente . • uccise ingiustamente • .
Emilia (accorrendo al htto) .
Chi geme la ? . . . Orror !
Dbsdbmona. Muoio innocente . •
Emilia. Gran Dio ! . • . Chi fu ?
Dbsdbmona. Nessuno . . . io stessa . . al mio
Sig^or mi raccomnanda . . . Emilia • • .
Addio . . .
(Muore.)
Otbllo. O mentitrice ! io Tuccisi.
Emilia. Assassino !
Otello.
Fu di Cassio la druda. A Jago il chiedi.
Emilia. A Jago?
Otello. A Jago.
Emilia. Stolto! e tu il credesti? • . .
Otello. Negarlo ardisci? !
(yb fer awentarsi contro Emilia,)
Emilia. No ni temo.
Otello ijta afferra). Bada!
Emilia (jsi svincola e corre verso la porta
gridando disperatamente) .
Ola ! Soccorso ! Aiuto ! Otello uccise
Desdemona !
I have been
SCENA IV.
Otello, Emilia, Lodovico, Cassio, Jago.
Poi MoNTANO congente armata,
TuTTi (Jranne Otello ed Emilia),
Quai grida ! Orrore ! Orrore I
Emilia. Jago, smentisci quel vile assassino.
Hai tu creduto Desdemona infida?
Parla I
Jago. Tal la credea.
Otello. Quel fazzoletto
Che un di le diedi, a Cassio essa donava.
Emilia. O potenza divina I
Jago {ad Emilia). Taci.
Emilia. No,
Tutto rivelo I
Jago. Taci.
Emilia. Lives.
Othello. Cassio lives I
Desdemona {from the bed).
I die here guildess • • .
^ slain unjustly.
Emilia {running to the bed).
What cry is that? . . . Great God !
Desdemona* I die here guiltless.
Emilia. Oh Heav'n ! . . . Who did this
deed?
Desdemona. Oh, no one • • • myself.
. . . Unto my lord
Pray you commend me . . • &rewelL
{She dies.)
Othello. She dies a liar I I have killed hen
Emilia. Vile assassin !
Othello. Strumpet she was to Cassio. Your
hushand told me.
Em ilia. My husband ?
Othello. Your husband.
Emilia. Fool thou ! and did'st believe him?
Othello. Dare you deny it?
( Threatening Emilia,)
Emilia. Thee I fear not.
Othello. {Takes hold of her,)
Tarry.
Emilia \/rees herself and runs to the door
<^^yi^g loudly) ,
Ho I help I bring rescue, assistance !
The Moor has murdered my mistress I
SCENE IV.
Othello, Emilia, Lodovico, Cassio, Iago,
later on Montano and Solders.
All. {Except Othello -and Emilia,)
Oh, horror! Oh, horror! Alas!
Emilia. Husband, if thou beest a man face this
villain.
He says thou told'st him his wife was un-
faithful.
Answer !
Iago. So I believe.
Othello. The pledge and token
Which first I gave her, in Qissio*8 own
hand I saw it.
Emilia. Oh, ye heavenly powers I
Iago. ( To Emilia) .
Silence.
Emilia. No.
I will reveal it.
Iago. Silence.
4«
ll
Elf ILIA. No! Costui
Dalla mia man quel fazzoletto sveisc
A viva forza.
CAssio. £ nella mia diroora
Trovai quel vel.
MoNTANO {entrando ed indicando Jqg-o).
Rodrigo morente
Mi 8veI5 di quest' uom Tarti ne&nde.
Otkllo (a Jago),
Ah ! discolpati !
Jago (fuggendo).
No.
LoDovico. Ferma.
MoNTANO. S' insegua.
{Alcuni escono inseguendo Jago,)
TuTTi. Afferratelo I
Otbllo {slanciandosi fer efferrar la spadd).
£ il ciel non ha piu fulmini ? ! • • «
LoDovico. La spada a me 1
Otbllo. Tant* osi ? I — Niun mi tema
S' anco armato mi vede. Ecco la fine
Del mib cammin
Otello fu.
Oh! Gloria!
(Lascia cadere la spada)
(va presso al letto e contempla Desdemond)
£ tu . . . pome sei pallida ! e stanca, e
muta, e bella,
Pia creatura nata sotta maligna stella.
Fredda come la casta tua vita, e in cielo
assorta.
Desdemona ! Desdemona . . . Ah ! . • .
morta ! • . . morta . . • morta ! . • .
{estraendo furlivamente dalle vesti un pug-
nale.)
Ho un armaancorl
{si Jeirsce,)
Cassio. Ah! Ferma!
TuTTi. Sciagurato !
Otello. Pria d' ucciderti • • . sposa • • •
ti Ipaciai.
Or morendo . . • nell' ombra • • •
ov' io mi giacio . . .
Un bacio . . . un bacio ancora • • .
on altro bacio • . •
(Jiifuore.)
/*
Emilia. No! That handkerchief
He tore away from me, and begged me oft
To steal it.
Cassio. And I found in my chamber
A handkerchief.
MoNTANO. {Entering and pointing to lagoJ)
The dying Roderigo has confessed all the
dark plots of this villain.
Othello (/£> lago).
Ah ! refute the charge I • <
Iaoo. (Running.)
No.
LoDOVico. Stop him I
MoNTANO. Arrest him 1
{Exeunt attendants after lago.)
All. Let him not escape.
Othello. {Running towards his scimitar on
the table J)
Ah, Heav'n ! hast thou no lightning left?
LoDOVico. Give me your sword.
Othello. What would you ? Do not fear me.
Though I still have a weapon. Here is my
butt,
Here my journey's end. Ah I glory I
Othello's gone!
{He drops the sword.)
{ Goes to the ied^ looting upon Desdemona.)
And thou, how dost thou look now? So
pale, so still, so beautiful.
Oh ! ill-starred wench and noble, battered
by evil fortune.
Cold now, yea, e'en as cold as thy chastity,
most fit for heaven.
Desdemona ! Desdemona I Ah ! dead, dead,
dead!
{//e furtively draws a dagger from kit
doublet.)
This still remains.
{Stabs himself.)
Cassio. Ah I hold him I
All. Oh, Othello !
Othello. I kissed thee ere I killed theo»
Now, no way but this, killing myselt
A kiss— another kiss — and yet a kisit
{He dies.)
IT
BOOKS ON THE VOICE
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YOUR VOICE AND YOU
(What the Singer should do)
By Clara Kathleen Rocebs (Clara Doru) Qoth* $1.75 net
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Edited by Eduardo Marzo Each book, paper. |1^ net
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Edfted by Eduardo Marzo Tliree books to each ▼oico— each, paper. 11^25 nel
THE HEAD VOICE AND OTHER PROBLEMS
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^ By Claude Ellsworth Johnson Qoth, 11^ net
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FUNDAMENTALS OF VOICE PRODUCTION
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All librettos have English text. Additional texts are indicated by Italic letters, as
follows: U Italian; G» German; F, French. Those marked with {^) coniaia no
music. All the others have the music of the principal airs.
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Titi*
AfricaiMt L* J.
Aidbi I.
Armide F,
Bmllo in Ma>cliT>, Un
(The Masked BaU) 7.
Barbtt-Bleue
(Blue Beard) F.
BarbUre di SiTt«Ua, U
( Barber of SerUle) J.
BmHerad Bride G.
BeUe Hfl^iia^ La F.
Balk of Coraarilla
(Chimes of Normandy)
*BUlaa Taylor
* Boccaccio
Bohemian Girl^ The
do. J.
Camen F.
do. J.
CaTallaria Rnsticana J.
Chimes of Normandy
(Bells of GJomeriUe)
Cleopatra** Nifht
Conies d'Hoffmann, Lee
(Tales of Hoffmann) F.
Crispino e la Comare
(The Cobbler and
the Fairy) I.
Crown Diamonds, The F.
Dame Blanche, La
Damnation of Faust,
The F.
Dinorah 7.
*Doct<ir of Alcantara,
The
TitI*
Qiacomo Meyerbeer
Don Giovanni I.
W. A. Mozart
Oiuaeppe Verdi
Don Pasqvale 7.
Gaetano DonizetH
0. W. von Oluck
^Dorothy
Dumb Girl of Portid,
Alfred Cellier
Oiuaeppe Verdi
D.F.E. Auber
•
Eluire d'amore. I* 7.
Gaetano Donizetti
Jacquea Offenbach
•Erminie 7.
Edward Jakobow9ki
Emani 7.
Giuseppe Verdi
CHoacchino A. RoMsini
EtoUe dn Nord, L' (The
Frederich Smetana
Star of the North) 7.
Giacomo Meyerbeer
JctcQuea Offenbach
Fatinitsa
Franz von 8upp4
Favst F.
Charles Gounod
Robert Planquette
do. 7.
do.
Edward Solomon
FaTorita, La 7.
Gaetano Donizetti
Franz von Bnpp6
FideUo 0.
L. van Beethoven
Michael Wm. Balfe
Fiflia del Regaimento,
do.
La (Daughter of the
Oeorgei Bizet
the Regiment) 7.
Gaetano Donizetti
do.
Fille de IMadame Angot,
Pietro Maacagni
La F.
Flauto Magiso, 11
Charles Lecocq
Robert Planquette
(The Magic Flute) 7.
W. A. Mozart
Henry Hadley
do. 0.
Fledermans, Die
do.
JacqucM Offenbach
(The Bat) G.
Johann Strauss
Flying Dutchman, The
Richard Wagner
do. G.
do.
Luigi and F. Ricd
Fra DiaTolo 7.
D. F. E. Auber
D. F. E. Auber
Freiscfatttz, Der G.
Carl Maria von Weber
F. A. Boieldieu
do. 7.
*GiUette (LaBette
do.
Hector Berlioz
Coquette)
EdmondAudran
Qiacomo Meyerbeer
Gioconda, La 7.
AmUcare PonchieUi
Girofld-Girofla F.
Charles Leoocq
Julius Eichberg
Gotterdammerung, Di«G.
Richard Wagner
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YOUR VOICE AND YOU
(What the Singer should do)
By Clara Kathleen Rocebs (Claka Doma) Qoth* $1.75 net
PREPARATORY COURSE TO THE ART OF VOCALIZATION
SopranOf Mexza Soprano^ Alto, Tenor, Baritone, Bau
Edited by Eduabdo Marzo Each book, paper, |L25 net
THE ART OF VOCAUZATION
Soprano, Mezzo Soprano, Alto, Tenor, Baritone, Baag
Edfted by Eduardo Marzo Tliree books to each voico— each, paper, 11^25 nel
THE HEAD VOICE AND OTHER PROBLEMS
By D. A. CLimNGER Qoth, |1^ net
RESONANCE IN SINGING AND SPEAKING
By Dr. Thomas FnxBROWif Qoth, $1.50 net
SIMPLE TRUTHS USED BY GREAT SINGERS
By Sarah Rorinson Duff Qoth, $1.50 net
SOME STACCATO NOTES FOR SINGERS
By Maris Withrow Qoth, IliX) net
THE COMMONPLACES OF VOCAL ART
By Louis Arthur Russell Qoth, $1.25 net
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By Louis Arthur Russell Qoth, I1J25 net
FRENCH DICTION FOR SINGERS AND SPEAKERS
By William Harknrss Arnold Qoth, 11^ net
THE TRAINING OF BOYS* VOICES
By Claude Ellsworth Johnson Qoth, tlSSS net
TWELVE LESSONS ON THE
FUNDAMENTALS OF VOICE PRODUCTION
By Arthur L Manchester Qoth, |1^ net
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1 ^ri--«7-^>43
SONGS FROM THE OPERAS
Edited by H, E. KREHBIEL
^ound in paper, cloth back, $2,^0 each, net
In full cloth, gilt .... ^.^o each, net
In these volumes of The Miisicians Library the editor has presented in chron-
ological order the most famous arias from operas bf every school. Begin-
ning with songs from the earliest Italian produaions, a comprehensive
view of operatic development is given by well-chosen examples from Ger-
man, French, and later Italian works, down to contemppraiy musical drama.
Each song or aria is given in its original scriptive, and interpretative notes on each
key with the original text, and a &ithfut song.
and singable English translation. Portraits of the most noted composers
Each volume contains an interesting pref- represented are given in each volume,
ace by Mr. Krehbiel, with historic, de- Size of each volume, 9*7x124 inches.
SOPRANO SONGS FROM THE OPERAS
Contains twenty-three numbers by nineteen composers. The music covers 188 pages,
the prefatory matter 25 pages. Portraits are given of Beethoven, Bellini, Gluck,
Gounod, Meyerbeer, Mozart, Rossini, Verdi, and Weber.
MEZZO SOPRANO SONGS FROM THE OPERAS
Contains thirty numbers by twenty-five composers. The music covers 186 pages, the
prefiitory matter 29 pages. Portraits are given of Auber, Bizet, Donizetti, Handel,
Massenet, Saint-Saens, Spontini, Thomas, and Wagner.
ALTO SONGS FROM THE OPERAS
Contains twenty-nine numbers by twenty-two composers. The music covers 176
pages, the prefatory matter 20 pages. Portraits are given of Glinka, Gluck, Mandel,
Lully, Meyerbeer, Purcell, Rossini, Thomas, and Vei'di.
TENOR SONGS FROM THE OPERAS
Contains twenty-nine numbers by twenty-one composers. The music covers 192
pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Gluck,
Gounod, Mascagni, Massenet, Verdi, Wagner, andWeber.
BARITONE AND BASS SONGS FROM THE OPERAS
Contains twenty-seven numbers by twenty-four composers. The music covers 188
pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cherubini,
Gounod, Hal^vy, Handel, Mozart, Ponchielli, and Tchaikovsky.
BOSTON: OLIVER DITSON COMPANY
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4(5
EifiLiA. No! Costui
Dalla mia man quel fazzoletto svelse
A viva forza.
CAssiO. £ nella mia diinora
Trovai quel vel.
MoNTANo (entrando ed tndicando Jqgio),
Rodrigo morente
Mi 8vel5 di quest' uom Tarti ne&nde.
Otkllo {ajago).
Ah ! discolpati I
Jago (fuggendo).
No.
LoDovico. Ferma.
MoNTANO. S' insegua.
{Alcuni escono tnseguendo Jago,)
TuTTi. Afferratelo !
Otbllo (slanctandost per efferrar la spadd).
£ il ciel non ha piu fulmini ? ! . • •
LoDOvico. La spada a me !
Otbllo. Tant* osi ? I — Niun mi tema
S' anco armato mi vede. £cco la fine
Del mi6 cammin
Otello fu.
Oh! Gloria!
{JLascia cadere la spada)
(va presso al letto e coniempla Desdemona)
£ tu . . . pome sei pallida I e stanca, e
muta, e bella,
// Pia creatura nata sotta maligna Stella.
Fredda come la casta tua vita, e in cielo
assorta.
Desdemona ! Desdemona . . . Ah ! . • .
morta I . . . morta . . . morta I . . .
{estraendo furlivamente dalle vesti un pug*
nale»)
Ho un arma ancor I
{siyetrsce.)
Cassio. Ah! Ferma!
TuTTi . Sciagurato 1
Otbllo. Fria d' ucciderti • • • sposa • • .
ti Ipaciai.
Or morendo . . . nell' ombra • . .
ov' io mi giacio ...
Un bacio . . . un bacio ancora • • .
un altro bacio • . •
(^Afuore.)
^
£milia. Nol That handkerchief
He tore away from me, and begged me aft
To steal it.
Cassio. And I found in my chamber
A handkerchief.
MoNTANO. {£ntering and pointing to faga,)
The dying Roderigo has confessed all the
dark plots of this villain.
Othbllo(/^> logo).
Ah ! refute the charge I
Iaoo. {/Running,)
No.
LoDOVico. Stop him I
MoNTANO. Arrest him I
(^Exeunt attendants after lago.)
All. Let him not escape.
Othbllo. (Running towards his scimitar on
the table,)
Ah, Heav'n ! hast thou no lightning lef^ P
LoDovico. Give me your sword.
Othello. What would you ? Do not fear me.
Though I still have a weapon. Here is my
butt,
Here my journey's end. Ah I glory I
Othello's gone!
(He drops the sword.)
( Goes to the ied^ looting upon Desdemona^
And thou, how dost thou look now? So
pale, so still, so beautiful.
Oh ! ill-starred wench and noble, battered
by evil fortune.
Cold now, yea, e'en as cold as thy chastity,
most fit for heaven.
Desdemona ! Desdemona ! Ah ! dead, dead,
dead!
(He furtively draws a dagger from ki$
doublet,)
This still remains.
(Stabs himself.)
Cassio. Ah I hold him I
All. Oh, Othello !
Othbllo. I kissed thee ere I killed tbeo»
Now, no way but this, killing myselt
A kiss — another kiss — and yet a kisii
{He dies.)
BOOKS ON THE VOICE
m
m
YOUR VOICE AND YOU
IWhat the Singer should do)
By Clara Kathleen Rocebs (Clara Doru) Qoth, 11.75 net
PREPARATORY COURSE TO THE ART OF VOCALIZATION
Soprano, Mexza Soprano, Alto, Tenor, Baritone, Bass
Edited by Eduardo Marzo Each book, paper, |L25 net
THE ART OF VOCAUZATION
Soprano, Meszo Soprano, Alto, Tenor, Baritone, Bass
Edfted by Eduardo Marzo Three books to each toico— each, paper, |L25 nel
THE HEAD VOICE AND OTHER PROBLEMS
By D. A. Cuppinger Qoth, 11^ net
RESONANCE IN SINGING AND SPEAKING
By Dr. Thomas FnxBRowif Qoth, $1.50 net
SIMPLE TRUTHS USED BY GREAT SINGERS
By Sarah Rorinson Duff Qoth, $1.50 net
SOME STACCATO NOTES FOR SINGERS
By Marie Withrow Qoth, IliX) net
THE COMMONPLACES OF VOCAL ART
By Louis Arthur Russell Qoth, |1^ net
ENGLISH DICTION FOR SINGERS AND SPEAKERS
By Louis Arthur Russell Qoth, I1J25 net
FRENCH DICTION FOR SINGERS AND SPEAKERS
By William Harknbss Arnold Qoth, |1^ net
THE TRAINING OF BOYS* VOICES
By Claude Ellsworth Johnson Qoth, tlSSS net
TWELVE LESSONS ON THE
FUNDAMENTALS OF VOICE PRODUCTION
By Arthur L Manchester Qoth, $1.25 net
BOSTON: OLIVER DITSON COMPANY
New York'. CHAS. H. DITSON & CO. Chicago- LYON & HEALY, Inc.
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